Idea for friendface. It would be a supplement to the "like" button. You would not press anything, but that if your post did not receive any hits or likes over a certain period of time, then one of two things would happen: 1) Whenever folks rolled over the unpopular post you would hear the sound of crickets, or 2) Whenever folks rolled over the unpopular post, at the bottom you would see a tumbleweed roll across the post box.
All Nick C. Brilliant.
Aug 27, 2013
Aug 26, 2013
Last Friday was a particularly
Awful day. Not only did I have to close at work, but the time I spent on the computer in the morning and afternoon hours before I went to work was one of the most soul crushing experiences I had had in ages. It was my own fault in a way, I suppose. I mean, I should have just got off the bloody computer and read the NYT, or read a book, or watched a Godard film, or a foreign film, or a documentary; anything other than let my laziness overwhelm me and drag me down a flipping nightmare rabbit hole of the intertubes, and be confronted yet again with what seemingly stands in place for good criticism these days. Or, be reminded just how debased our standards for art are.
It started out innocently enough. I read AO Scott's review of The World's End (in print.) He loved it, of course. Just about everybody loves it, and deservedly so. I love it. The Wife loves it. (More on this later.) Scott did hint at one quibble toward the end of his review, that perhaps the film could have been a bit more cynical, or tougher. Well, that completely misses the point of Edgar Wright and Simon Pegg's entire oeuvre dating back to their television series Spaced; Wright and Pegg are notoriously of a good natured disposition. Not to say that they do not deal with serious issues, or have some fine acting performances of a dramatic nature in their films -- The World's End deals with alcoholism and the soul crushing deadening power of technology, just for starters -- but their generally upbeat and non cynical take on modern life is one of the best and most refreshing things about them. It is their essence. The future, to them, is not broken. And, we desperately need artists like that right now.
Anyroad, then I settled in with a cup of Mariage Freres tea and switched on the computer. At first I just read reviews of The World's End on Rotten Tomatoes (90 per cent!) I had half expected the internets to blow up about The World's End alone. It had not. (It has probably exploded on Tumblr, though I never look at Tumblr anymore. Any case any one cares, I have essentially moved my Tumblr blog to Pinterest.) After seeing a New York Magazine World's End review published on Vulture, a culture webzine, I saw a link and video re MGMT's performance on David Letterman's show the night before. That is where it all went wrong.
I watched the video. I like the song. I like the performance. I like the giant cowbell. I like the giant sunglasses and hippie outfit. I like the group. I like the other advance song from the upcoming album. I am eagerly awaiting the new record. And, I have pre-ordered it, and will get it in a few weeks. Is it the second coming of the Beatles? Is it the greatest performance I have ever seen? Is it the greatest song ever? No. On all questions asked, No.
Yet, every single mother's son of an internet jockey out there decided that it was their turn to scream bloody murder that this was the worst thing they had ever seen in their entire lives, and what a waste it all was, and how dare they do something like this, and how awful and weird MGMT are now, and why don't they make records like Kids anymore?
Seriously? What is more wasteful? A flipping rock group -- that is all they are -- doing a weird performance on a chat show, or a bunch of basement dwelling Frito-Lay addicts bitching and moaning about it on webzines and comment boards?
Right right right, I get it. Pot meet kettle. What the flip am I doing right now? But, my issue with their criticism was not so much their abuse of a platform but the tenor and content of their complaints, and their completely unrealistic demands on the group. And that the platform they are using amplifies, and reveals that the global democracy of the internet lowers the standards of criticism to the point that whomever gets more "likes", or page hits, as the ultimate arbiter of worthiness as a critic.
MGMT were very canny, in a way. They "sold out" with their very first record. I honestly believe that they did this in a completely uncynical non greedy sort of way. They produced a wonderful first record that captured the imagination of the times and young people all across the world. And, the record was absolutely boffo at the box office, to boot. They were rich and famous right out of the gate. Bully for them. That is what they sounded like then, but they do not sound like that now.
When their second album came out was when the internet carping (carving?) began. Though, the mainstream press loved the record, the internets did not. The sales also took a dive, and complaints started being hurled at the group for their weird live performances. What the group had done was hook up with Sonic Boom of Spacemen 3 -- he produced the record -- and make an album, that though stylistically sounded startlingly close to their first record did not contain dance-y rave-y anthemic tracks, and included a thirteen minute long omnibus song, an all acoustic single, and name checked a couple of recording artists that many of the group's fans had never heard of, and might not care about. Personally, I think Congratulations is one of the best records of the new century, which is not saying much since "albums" are pretty much a dead letter in our new digital age, and there are so few great albums now. Or, does it say a lot, since there are artists still out there who care enough about the "album" concept to make great albums?
(That is how different things are now, kids. A "Concept Album" today requires no "concept", just the ability to put more four or more good songs on a record.)
And, that is a long winding road toward to the thrust of my first point: It is no good criticizing a group (or any type of art, for that matter) for not being what you want it to be. Moreover, it is the worst sort of criticism. It is lazy and selfish. The art on hand should be judged on its own merits. You like it or you don't. You can say, It is not as good as this other piece of work. You can even say, I wish it was more like what they used to do in the past. But what you can not say is, Blue Jasmine sucks because it is not Annie Hall. Guernica is awful because it is not Le Rêve. Strawberry Fields Forever blows because it is not I Want to Hold Your Hand.
This type of lazy criticism has been going on ever since the notion of art was invented. It will always be there. The problem is that one of the worst side-effects of the internets is that everyone has a public platform now, and feels entitled to share their uninformed opinion on all things IN ALL CAPS, as if that proves they must be right.
************
************
I have mentioned this personal story before in this space, but I am going to mention it again, as it is relevant to today's discussion.
I had a work friend at the Berkeley Food Hole, who was very hep to indie music, and shared a lot of common music interests with myself. He liked Stereolab, Belle and Sebastian, Neu, JSBX, etc, ... He also liked the High Llamas. Many of you prob have no idea who the High Llamas are. The High Llamas are an English rock group that had a brief spell of moderate "indie" fame in the mid to late Nineties. They are a wonderful group, and I highly recommend them to you, and I will give you a video here, as well. (Also, this will take the edge off my rage at the ALL CAPS BRIGADE.)
Anyhoo, the High Llamas whole aesthetic was that of the Luddite. (They did use synthesizers, but they were analogue ones.) They pined for a pastoral, agrarian English village society free from new technology (see why I like them so much) and urban life. They even actually did do an honest to gosh anti-colonialist Concept (double) Album called Hawaii. Their biggest influence was Brian Wilson and The Beach Boys. Although they were never as sentimental as The Beach Boys, and a good deal more cynical, you could nearly neatly fit their personal mission alongside The Beach Boys, replacing pastoral village life for The Beach Boys surf and sun and high school days. The High Llamas are famous for three part harmonies, jaunty bouncy tunes, and a lot of banjo.
I had already seen the group a number of times before my friend had. When he did finally see them he reported back to me how disappointed he was. He said, All they did was stand there and play their instruments.
I was dumbstruck. What did he expect them to do? Jump up and down on the stage like they were The Clash? How are they expected to produce the type of music that he already loved, doing three part harmonies, and delicate lovely tuneful arrangements by acting like Rage Against the Machine on stage? When did we stop listening to music, even if it is a live performance?
And, that was another big deal for me last Friday. The ALL CAPS BRIGADE were also incensed that MGMT were not muscular or energetic enough for their performance. Absurd! Many who had seen the performance had prob already heard the song. The song is basically a two minute chorus, with the same repeating refrain. There are no solos. There are no time changes. There is no bluster despite dripping with attitude. There are no histrionics. It is what it is, and it in no way lends itself to a careening shambolic mind blowing phantasmagoriac costume changing axe wielding performance. The group seem supremely aware of this by substituting irony and attitude for bombast. (The more I write and think about this MGMT performance on Letterman, the more I appreciate it.) Moreover, unlike as many of the ALL CAPS BRIGADE suggest, the band does not appear listless, or uncaring, or bored, or even drugged. They are doing service to the song as it is written. Is not that the job of a musician?
MTV is the culprit here, and YouTube. Michael Jackson and Madonna. Hip hop and Lady Gaga. For the ALL CAPS BRIGADE there must be dancers; women in lingerie and bikinis; multiple costume changes; oblique elliptical "messages" of a sexual political nature; sweat; blood; controversy; heart rending personal passion, etc, ... (Of course, our nation has never been great with irony. And, recognizing irony is still one of the best tests for true intelligence around.)
The artist writes the song. And, not every song fits slimly in to the model of what is popular these days. Or at least doing service to the song, which as I mentioned is a musician's job. The ALL CAPS BRIGADE seem infuriated that MGMT did not do an insane pyrotechnic version of a song which did not require it. Or -- and this is what I think -- they wished they had played Time to Pretend instead.
Which brings me to my last point. The other big complaint was that MGMT had wasted their opportunity before such a large audience on a nationally televised program. Wasted it how? Have you talked to the group? Was there some body language that you picked up on that I did not? And, who are you to judge on wasted opportunities less than thirteen hours after it had happened? Where is the context of which you speak?
Is not it possible that the ''waste" that you speak of has way more to do with your personal displeasure at watching a group many of you "profess" to love not behaving the way you would prefer them to? Is not this really a Your Problem issue, and not the group's?
Frankly, I imagine MGMT were quite pleased with their performance, and are eagerly looking forward to playing here in San Francisco at the Warfield on Wednesday. What are you doing Wednesday? I am not in supine adoration of MGMT but I think they are very fine. And I know there are millions of others that would agree with me.
But, ultimately, I think the issue with MGMT's performance on Letterman really gets down to the fact they do not like the song, and are afraid to admit it because the song hits too close to home. I have buried the lede, folks. The song is called Your Life is a Lie. Personally, I am taking the view that the song is like Bill Hick's observation that life is, "It's just a ride." That we'll never flipping know all the answers, and we should treasure the experience while we are here, and not get so hung up about the Supreme Importance of Homo Sapiens, as so many folks do, leaning on crutches like religion or addiction or self-importance. "It's just a ride."
But, of course the music and singing definitely add whole other layers to it. It could be heard as a poke in the eye to the music industry, Capitalism, or even be heard as a diatribe to a past lover or friend. That is the beauty of art. Eventually, it all belongs to us, and not the artist.
All I am asking is, My gosh, have some fucking self-respect, and some standards, and some rules if you are going to criticize art on a public forum. Is that too much to ask? And, one of the best cures for this blight so many suffer from is easy. Get away from the computer and go to a museum. Read a book. Read a print newspaper or city weekly. See a film in a theater. Go to a park and draw or write about what you see. Listen intently to conversations with your friends. Get a second opinion before you write. Keep a journal that is not a blog. Stop taking pictures of every frickin event in your life, and regale your friends with long stories of your life that will never see the light of day in digital ink. Go to the opera. See a ballet. Go see a band, stand at the back, and close your eyes. See the symphony. Watch a film through someone else's eyes. I do it all the time. Same with music. Hear it like your friend would. Quit watching Mad Men. Skip the blockbusters, and see something you might never have ever thought about watching, like an Iranian or Romanian film. That kind of cure. It is easy. Stretch and bend. Elasticity. Also, never judge something until it is over and you have had suitable time to think about it. And, never judge an artist unless you are supremely familiar with all of their works.
Here is the performance (if the video is still up:)
Here is the authorized video version of the song:
And, here are some linkies to the interweb outrage!: here, here, and here.
Although, some people liked it. (Did not check out the comment boards, though.)
All my hugs and kisses, I love you all!
Ardent
It started out innocently enough. I read AO Scott's review of The World's End (in print.) He loved it, of course. Just about everybody loves it, and deservedly so. I love it. The Wife loves it. (More on this later.) Scott did hint at one quibble toward the end of his review, that perhaps the film could have been a bit more cynical, or tougher. Well, that completely misses the point of Edgar Wright and Simon Pegg's entire oeuvre dating back to their television series Spaced; Wright and Pegg are notoriously of a good natured disposition. Not to say that they do not deal with serious issues, or have some fine acting performances of a dramatic nature in their films -- The World's End deals with alcoholism and the soul crushing deadening power of technology, just for starters -- but their generally upbeat and non cynical take on modern life is one of the best and most refreshing things about them. It is their essence. The future, to them, is not broken. And, we desperately need artists like that right now.
Anyroad, then I settled in with a cup of Mariage Freres tea and switched on the computer. At first I just read reviews of The World's End on Rotten Tomatoes (90 per cent!) I had half expected the internets to blow up about The World's End alone. It had not. (It has probably exploded on Tumblr, though I never look at Tumblr anymore. Any case any one cares, I have essentially moved my Tumblr blog to Pinterest.) After seeing a New York Magazine World's End review published on Vulture, a culture webzine, I saw a link and video re MGMT's performance on David Letterman's show the night before. That is where it all went wrong.
I watched the video. I like the song. I like the performance. I like the giant cowbell. I like the giant sunglasses and hippie outfit. I like the group. I like the other advance song from the upcoming album. I am eagerly awaiting the new record. And, I have pre-ordered it, and will get it in a few weeks. Is it the second coming of the Beatles? Is it the greatest performance I have ever seen? Is it the greatest song ever? No. On all questions asked, No.
Yet, every single mother's son of an internet jockey out there decided that it was their turn to scream bloody murder that this was the worst thing they had ever seen in their entire lives, and what a waste it all was, and how dare they do something like this, and how awful and weird MGMT are now, and why don't they make records like Kids anymore?
Seriously? What is more wasteful? A flipping rock group -- that is all they are -- doing a weird performance on a chat show, or a bunch of basement dwelling Frito-Lay addicts bitching and moaning about it on webzines and comment boards?
Right right right, I get it. Pot meet kettle. What the flip am I doing right now? But, my issue with their criticism was not so much their abuse of a platform but the tenor and content of their complaints, and their completely unrealistic demands on the group. And that the platform they are using amplifies, and reveals that the global democracy of the internet lowers the standards of criticism to the point that whomever gets more "likes", or page hits, as the ultimate arbiter of worthiness as a critic.
MGMT were very canny, in a way. They "sold out" with their very first record. I honestly believe that they did this in a completely uncynical non greedy sort of way. They produced a wonderful first record that captured the imagination of the times and young people all across the world. And, the record was absolutely boffo at the box office, to boot. They were rich and famous right out of the gate. Bully for them. That is what they sounded like then, but they do not sound like that now.
When their second album came out was when the internet carping (carving?) began. Though, the mainstream press loved the record, the internets did not. The sales also took a dive, and complaints started being hurled at the group for their weird live performances. What the group had done was hook up with Sonic Boom of Spacemen 3 -- he produced the record -- and make an album, that though stylistically sounded startlingly close to their first record did not contain dance-y rave-y anthemic tracks, and included a thirteen minute long omnibus song, an all acoustic single, and name checked a couple of recording artists that many of the group's fans had never heard of, and might not care about. Personally, I think Congratulations is one of the best records of the new century, which is not saying much since "albums" are pretty much a dead letter in our new digital age, and there are so few great albums now. Or, does it say a lot, since there are artists still out there who care enough about the "album" concept to make great albums?
(That is how different things are now, kids. A "Concept Album" today requires no "concept", just the ability to put more four or more good songs on a record.)
And, that is a long winding road toward to the thrust of my first point: It is no good criticizing a group (or any type of art, for that matter) for not being what you want it to be. Moreover, it is the worst sort of criticism. It is lazy and selfish. The art on hand should be judged on its own merits. You like it or you don't. You can say, It is not as good as this other piece of work. You can even say, I wish it was more like what they used to do in the past. But what you can not say is, Blue Jasmine sucks because it is not Annie Hall. Guernica is awful because it is not Le Rêve. Strawberry Fields Forever blows because it is not I Want to Hold Your Hand.
This type of lazy criticism has been going on ever since the notion of art was invented. It will always be there. The problem is that one of the worst side-effects of the internets is that everyone has a public platform now, and feels entitled to share their uninformed opinion on all things IN ALL CAPS, as if that proves they must be right.
************
Graham Lewis of Wire, on why the group reformed after a six year hiatus, "We were bored with what we were seeing live, actually."
************
I have mentioned this personal story before in this space, but I am going to mention it again, as it is relevant to today's discussion.
I had a work friend at the Berkeley Food Hole, who was very hep to indie music, and shared a lot of common music interests with myself. He liked Stereolab, Belle and Sebastian, Neu, JSBX, etc, ... He also liked the High Llamas. Many of you prob have no idea who the High Llamas are. The High Llamas are an English rock group that had a brief spell of moderate "indie" fame in the mid to late Nineties. They are a wonderful group, and I highly recommend them to you, and I will give you a video here, as well. (Also, this will take the edge off my rage at the ALL CAPS BRIGADE.)
Anyhoo, the High Llamas whole aesthetic was that of the Luddite. (They did use synthesizers, but they were analogue ones.) They pined for a pastoral, agrarian English village society free from new technology (see why I like them so much) and urban life. They even actually did do an honest to gosh anti-colonialist Concept (double) Album called Hawaii. Their biggest influence was Brian Wilson and The Beach Boys. Although they were never as sentimental as The Beach Boys, and a good deal more cynical, you could nearly neatly fit their personal mission alongside The Beach Boys, replacing pastoral village life for The Beach Boys surf and sun and high school days. The High Llamas are famous for three part harmonies, jaunty bouncy tunes, and a lot of banjo.
I had already seen the group a number of times before my friend had. When he did finally see them he reported back to me how disappointed he was. He said, All they did was stand there and play their instruments.
I was dumbstruck. What did he expect them to do? Jump up and down on the stage like they were The Clash? How are they expected to produce the type of music that he already loved, doing three part harmonies, and delicate lovely tuneful arrangements by acting like Rage Against the Machine on stage? When did we stop listening to music, even if it is a live performance?
And, that was another big deal for me last Friday. The ALL CAPS BRIGADE were also incensed that MGMT were not muscular or energetic enough for their performance. Absurd! Many who had seen the performance had prob already heard the song. The song is basically a two minute chorus, with the same repeating refrain. There are no solos. There are no time changes. There is no bluster despite dripping with attitude. There are no histrionics. It is what it is, and it in no way lends itself to a careening shambolic mind blowing phantasmagoriac costume changing axe wielding performance. The group seem supremely aware of this by substituting irony and attitude for bombast. (The more I write and think about this MGMT performance on Letterman, the more I appreciate it.) Moreover, unlike as many of the ALL CAPS BRIGADE suggest, the band does not appear listless, or uncaring, or bored, or even drugged. They are doing service to the song as it is written. Is not that the job of a musician?
MTV is the culprit here, and YouTube. Michael Jackson and Madonna. Hip hop and Lady Gaga. For the ALL CAPS BRIGADE there must be dancers; women in lingerie and bikinis; multiple costume changes; oblique elliptical "messages" of a sexual political nature; sweat; blood; controversy; heart rending personal passion, etc, ... (Of course, our nation has never been great with irony. And, recognizing irony is still one of the best tests for true intelligence around.)
The artist writes the song. And, not every song fits slimly in to the model of what is popular these days. Or at least doing service to the song, which as I mentioned is a musician's job. The ALL CAPS BRIGADE seem infuriated that MGMT did not do an insane pyrotechnic version of a song which did not require it. Or -- and this is what I think -- they wished they had played Time to Pretend instead.
Which brings me to my last point. The other big complaint was that MGMT had wasted their opportunity before such a large audience on a nationally televised program. Wasted it how? Have you talked to the group? Was there some body language that you picked up on that I did not? And, who are you to judge on wasted opportunities less than thirteen hours after it had happened? Where is the context of which you speak?
Is not it possible that the ''waste" that you speak of has way more to do with your personal displeasure at watching a group many of you "profess" to love not behaving the way you would prefer them to? Is not this really a Your Problem issue, and not the group's?
Frankly, I imagine MGMT were quite pleased with their performance, and are eagerly looking forward to playing here in San Francisco at the Warfield on Wednesday. What are you doing Wednesday? I am not in supine adoration of MGMT but I think they are very fine. And I know there are millions of others that would agree with me.
But, ultimately, I think the issue with MGMT's performance on Letterman really gets down to the fact they do not like the song, and are afraid to admit it because the song hits too close to home. I have buried the lede, folks. The song is called Your Life is a Lie. Personally, I am taking the view that the song is like Bill Hick's observation that life is, "It's just a ride." That we'll never flipping know all the answers, and we should treasure the experience while we are here, and not get so hung up about the Supreme Importance of Homo Sapiens, as so many folks do, leaning on crutches like religion or addiction or self-importance. "It's just a ride."
But, of course the music and singing definitely add whole other layers to it. It could be heard as a poke in the eye to the music industry, Capitalism, or even be heard as a diatribe to a past lover or friend. That is the beauty of art. Eventually, it all belongs to us, and not the artist.
All I am asking is, My gosh, have some fucking self-respect, and some standards, and some rules if you are going to criticize art on a public forum. Is that too much to ask? And, one of the best cures for this blight so many suffer from is easy. Get away from the computer and go to a museum. Read a book. Read a print newspaper or city weekly. See a film in a theater. Go to a park and draw or write about what you see. Listen intently to conversations with your friends. Get a second opinion before you write. Keep a journal that is not a blog. Stop taking pictures of every frickin event in your life, and regale your friends with long stories of your life that will never see the light of day in digital ink. Go to the opera. See a ballet. Go see a band, stand at the back, and close your eyes. See the symphony. Watch a film through someone else's eyes. I do it all the time. Same with music. Hear it like your friend would. Quit watching Mad Men. Skip the blockbusters, and see something you might never have ever thought about watching, like an Iranian or Romanian film. That kind of cure. It is easy. Stretch and bend. Elasticity. Also, never judge something until it is over and you have had suitable time to think about it. And, never judge an artist unless you are supremely familiar with all of their works.
Here is the performance (if the video is still up:)
Here is the authorized video version of the song:
And, here are some linkies to the interweb outrage!: here, here, and here.
Although, some people liked it. (Did not check out the comment boards, though.)
All my hugs and kisses, I love you all!
Ardent
Aug 21, 2013
My gosh,
I am going to miss TBogg so much.
Here are some of his greatest hits, on what is likely to be his last post.
(Mumia sweatshirt is my fave.)
Here are some of his greatest hits, on what is likely to be his last post.
(Mumia sweatshirt is my fave.)
Aug 20, 2013
Conversations with Nick C
As has been discussed here a tiny bit before, Nick C and I are supremely convinced that the fantastic post punk group Wire would be perfect for sports settings. I think the song Reuters by Wire would be the perfect introduction for a closer coming in to a game. Just as the wave of guitars start crashing after the doomy bass intro seems to me to be the ideal song for that moment. When I listen to the song now, I can not help but imagine the pitcher warming up, and the infielders tossing the ball around the diamond. I also see a fanatic, elated, slightly buzzed packed house going bat-shit crazy as the song whips around the stadium late at night. I also imagine it from the other team's perspective. Baseball players would hate to go that stadium, "Where they play that weird ass song, and the fans are so crazy."
Nick C prefers the song I Am the Fly for this setting, and has worked out a whole routine that the crowd would perform, and suggests that the closer might even wear crazy glasses, and his nickname might be "The Fly."
Ha ha ha, idle silly chatter on our parts, you might suggest. Well, it turns out Nick C and I are not the only ones who feel like this. Check out this quote from Sam Barton of the group Teeth of The Sea:
" [Wire] also blur the notions of high and low art which is a philosophy that ToTS have always pitched our tent around. For example, I've always had this ideal in music of the 'bohemian football hooligan anthem', it's something Jimmy [ToTS member] and I have discussed at length over the years. Basically the most perfect examples of the form are 'Needle In The Camel's Eye' by Eno and 'I Am The Fly' by Wire. That's not meant to sound flippant - if you can write an insane polyrhythmic song that lyrically makes Metamorphosis look a bit on the safe side and still make it a Saturday night air-puncher then you've truly achieved greatness. The pop thing is really important, it's not ivory tower experimentalism, it's to be put out into the world."
Now, Mr Barton has done a much better job expressing himself than Nick C and I have, but we are most certainly thinking along the same lines.
The quote comes from an excellent article from the music webzine Quietus. Here is the link here.
************
Also along post punk lines, I watched the Joy Division documentary yesterday, and although I admire Mr Curtis' unique talents a tiny bit more, I am still not convinced that he is quite the groundbreaking tragic poet figure that so many seem to believe he is. I still prefer New Order over Joy Division, I guess. It is prob just me. (I do love Ian Curtis crazy trance dancing routines on stage, though. Spooky.)
xxxoooxxx
Nick C prefers the song I Am the Fly for this setting, and has worked out a whole routine that the crowd would perform, and suggests that the closer might even wear crazy glasses, and his nickname might be "The Fly."
Ha ha ha, idle silly chatter on our parts, you might suggest. Well, it turns out Nick C and I are not the only ones who feel like this. Check out this quote from Sam Barton of the group Teeth of The Sea:
" [Wire] also blur the notions of high and low art which is a philosophy that ToTS have always pitched our tent around. For example, I've always had this ideal in music of the 'bohemian football hooligan anthem', it's something Jimmy [ToTS member] and I have discussed at length over the years. Basically the most perfect examples of the form are 'Needle In The Camel's Eye' by Eno and 'I Am The Fly' by Wire. That's not meant to sound flippant - if you can write an insane polyrhythmic song that lyrically makes Metamorphosis look a bit on the safe side and still make it a Saturday night air-puncher then you've truly achieved greatness. The pop thing is really important, it's not ivory tower experimentalism, it's to be put out into the world."
Now, Mr Barton has done a much better job expressing himself than Nick C and I have, but we are most certainly thinking along the same lines.
The quote comes from an excellent article from the music webzine Quietus. Here is the link here.
************
Also along post punk lines, I watched the Joy Division documentary yesterday, and although I admire Mr Curtis' unique talents a tiny bit more, I am still not convinced that he is quite the groundbreaking tragic poet figure that so many seem to believe he is. I still prefer New Order over Joy Division, I guess. It is prob just me. (I do love Ian Curtis crazy trance dancing routines on stage, though. Spooky.)
xxxoooxxx
Another great article in the Sunday NYT Arts and Leisure section
About the man in charge of the claqueurs at the Bolshoi Ballet in Moscow, Roman Abramov.
"Claqueurs" have been a part of the theatre for centuries now. The article, expertly and smartly written by Ellen Barry, suggests that this practice probably started in ancient Roman times when the Roman emperors would plant folks in the audience to applaud at certain instances to reinforce what they must have believed was their own personal good taste.
The French then perfected the modern claqueur system in the 18th and 19th century (the French term "claque" comes from the phrase, "to clap"), and The Bolshoi Ballet are still running a "claque" at their theater, and they are probably not the only ones.
The Claque works like this at the Bolshoi: The die hard serious balletomanes enter in to agreements with the dancers for free expensive passes to some of the best seats in the house to applaud at certain instances for their specific dancers. Plus, the Claqueurs will also receive other perks and access to the Ballet company and dancers. But, it can get ugly, too. If a dancer decides to go on their own, or not offer their passes to the claqueurs, then the claqueurs will turn on the dancers and cough at inappropriate times, or drop coins, or do other things to disrupt a dancer's concentration. Mr Abramov is the one in charge of facilitating these relationships between the dancers and the claqueurs, and he is an absolute mordant hoot. I would love to sit down with Abramov over a cup of tea, and get all the juicy details about the thousands of performances, and hundreds of dancers, he has seen at the Bolshoi. He has some of the best quotes around:
On why dancers need the claqueurs: "'Artists have very fine and delicate natures, they have a very delicate nervous system, and unfortunately, all of them have a strongly inflated self-image,' he said, a little mournfully. Dancers, he said, have an additional problem: 'Mainly they are dumb.' He added, 'They can be told what to do eight times, and on the ninth time they will still go in the wrong direction.' "
On one of the dancers who dared to challenge the claqueurs: "' Kolya fell down because of us many times, because I was at war with him for years and arranged these things for him,' he said, of Mr. Tsiskaridze. 'Poor guy, in Raymonda he screwed up the whole variation and flew off and ended up with his nose on the floor. In Nutcracker once, I made him drop his fouetté, from way up high, and he sat down on his bottom, butt facing the hall. And we all laughed.' "
On why he still does what he does: "' You see, I have nothing but this in my life,' he told me. 'No sensible person would survive eight performances of La Bayadère one after the other. Or twenty Nutcrackers in ten days.' "
Anyhoo, read all of Ms Barry's fantastic article here. And, why do I suspect that the Bolshoi is not the only company doing this? Next time you are at the ballet or opera, take a look around at those furiously clapping or shouting Bravo! They might have an agenda of their own.
"Claqueurs" have been a part of the theatre for centuries now. The article, expertly and smartly written by Ellen Barry, suggests that this practice probably started in ancient Roman times when the Roman emperors would plant folks in the audience to applaud at certain instances to reinforce what they must have believed was their own personal good taste.
 |
| Two of the dancers who dared to challenge the claqueurs! |
The French then perfected the modern claqueur system in the 18th and 19th century (the French term "claque" comes from the phrase, "to clap"), and The Bolshoi Ballet are still running a "claque" at their theater, and they are probably not the only ones.
The Claque works like this at the Bolshoi: The die hard serious balletomanes enter in to agreements with the dancers for free expensive passes to some of the best seats in the house to applaud at certain instances for their specific dancers. Plus, the Claqueurs will also receive other perks and access to the Ballet company and dancers. But, it can get ugly, too. If a dancer decides to go on their own, or not offer their passes to the claqueurs, then the claqueurs will turn on the dancers and cough at inappropriate times, or drop coins, or do other things to disrupt a dancer's concentration. Mr Abramov is the one in charge of facilitating these relationships between the dancers and the claqueurs, and he is an absolute mordant hoot. I would love to sit down with Abramov over a cup of tea, and get all the juicy details about the thousands of performances, and hundreds of dancers, he has seen at the Bolshoi. He has some of the best quotes around:
On why dancers need the claqueurs: "'Artists have very fine and delicate natures, they have a very delicate nervous system, and unfortunately, all of them have a strongly inflated self-image,' he said, a little mournfully. Dancers, he said, have an additional problem: 'Mainly they are dumb.' He added, 'They can be told what to do eight times, and on the ninth time they will still go in the wrong direction.' "
On one of the dancers who dared to challenge the claqueurs: "' Kolya fell down because of us many times, because I was at war with him for years and arranged these things for him,' he said, of Mr. Tsiskaridze. 'Poor guy, in Raymonda he screwed up the whole variation and flew off and ended up with his nose on the floor. In Nutcracker once, I made him drop his fouetté, from way up high, and he sat down on his bottom, butt facing the hall. And we all laughed.' "
On why he still does what he does: "' You see, I have nothing but this in my life,' he told me. 'No sensible person would survive eight performances of La Bayadère one after the other. Or twenty Nutcrackers in ten days.' "
Anyhoo, read all of Ms Barry's fantastic article here. And, why do I suspect that the Bolshoi is not the only company doing this? Next time you are at the ballet or opera, take a look around at those furiously clapping or shouting Bravo! They might have an agenda of their own.
Aug 16, 2013
Here are some of the films I am eagerly looking forward to watching:
(Some of them are in theaters now, but I will probably not get a chance to see them until they are released digitally.)
Lake Bell, who I do not know much about, writes, directs, and stars in In A World ...
Simon Pegg, Nick Frost, and Edgar Wright complete the Cornetto Trilogy
Steve McQueen and Michael Fassbender team up again for 12 Years a Slave
This could be a complete piece of poo poo, but I am still intrigued, American Hustle
This is in theaters now, but I probably will not see it until it gets to iTunes, The Act of Killing
I am going to watch this on PBS on Sunday, though I am not sure why they would remake The Lady Vanishes, one of Hitch's masterpieces
A French film about a family chateau in Bordeaux? Yes, Please!
The Artist and the Model
Ain't Them Bodies Saints
Hannah Arendt
And, the documentary Herblock, which I can not find a trailer for.
Kisses,
Everyone have a great Friday!
Ardent
Hannah Arendt
And, the documentary Herblock, which I can not find a trailer for.
Kisses,
Everyone have a great Friday!
Ardent
Aug 15, 2013
Sweating in Chanel
As for the Wife and I's latest journey in to Woody Allen's world of Windsor EF Light Condensed, it was the finest time we had had our passport stamped there for a while. It is certainly his best film in years, if perhaps not quite the masterpiece that some critics have proclaimed it to be.
There was some lazy editing, and some lazy directing. Particularly lazy directing with some of the scenes of Sally Hawkins' children. Also, there were some off notes with some of the jokes, which seemed out of place in this style of film.
Still, great performances abound, and Woody has created a fantastic profound story centered around Cate Blanchett's stunning performance. As others have suggested, Woody has created his own personal Blanche DuBois. Ms Blanchett, in fact, does so well, you can practically smell the unseemly sour blend of sweat and Chanel No. 5 pouring from underneath her arms in practically every scene. You believe the reason for every single lie she tells, and why she feels compelled to share her sob story with every person she meets. Ms Blanchett and Allen also make it perfectly believable why Blanchett's character is shocked and hurt each time someone catches her in a lie, or expresses anger at her and her ex-husband, played by Alec Baldwin, and the way they wrecked their lives.
The great power, and most profound thing about this film, is that you will not see that crazy person, mumbling to themselves in the street, quite the same ever again. Every one has a story.
As for one of my favorite actresses working today, Ms Hawkins, she is wonderful, too. Her American accent is serviceable if not perfect yet -- and will only improve -- and her performance, yet again, of a working class 'free soul' bohemian type is spot on. Her wild, and from the hip, decisions in romance and money, are expertly integrated and believable. If Ms Hawkins is not in a period piece, it seems she always will be cast and dressed in this same quirky manner. I am still a sucker for it. Methinks the Wife is getting a little tired of it.
I would also urge all fans of fashion and costuming to pay particular attention to Ms Banchett's costumes. She wears and accessorizes strictly top French Old House Classic designers such as Chanel, and is an absolute knockout in every outfit she wears. These costumes really nailed home the notion to me just what 'smart' means in terms of clothes and fashion. And, the fact, that they had her sweat through all these impeccable garments as her character starts to go around the bend, is perhaps oddly, one of the greatest and most moving series of illuminating character statements I will take from this film.
Much of the film was shot in The Mission in the City, which is nice to see. And, it was nice to see Ms Hawkins drink a Lagunitas IPA. (Jadot wine is all over the film, and Stoli vodka, too. Jadot is in so many films right now. They are doing a masterful job of product placement. My most sincere apologies, but, being in the industry, I can not help but notice wine product placements in film. It drives the Wife crazy!)
In terms of the horse race, Blue Jasmine will certainly be nominated for Best Picture, and Ms Blanchett has a very good shot at duplicating Ms Leigh's feat as Blanche DuBois, and winning an Oscar for Best Actress. I would like to see Ms Hawkins get nominated in the Supporting category, but I feel that would be a long shot.
Sincerely highly recommended by the Wife and I, a real return to form for Woody, is Blue Jasmine.
Ciao,
xxxoooxxx
There was some lazy editing, and some lazy directing. Particularly lazy directing with some of the scenes of Sally Hawkins' children. Also, there were some off notes with some of the jokes, which seemed out of place in this style of film.
Still, great performances abound, and Woody has created a fantastic profound story centered around Cate Blanchett's stunning performance. As others have suggested, Woody has created his own personal Blanche DuBois. Ms Blanchett, in fact, does so well, you can practically smell the unseemly sour blend of sweat and Chanel No. 5 pouring from underneath her arms in practically every scene. You believe the reason for every single lie she tells, and why she feels compelled to share her sob story with every person she meets. Ms Blanchett and Allen also make it perfectly believable why Blanchett's character is shocked and hurt each time someone catches her in a lie, or expresses anger at her and her ex-husband, played by Alec Baldwin, and the way they wrecked their lives.
The great power, and most profound thing about this film, is that you will not see that crazy person, mumbling to themselves in the street, quite the same ever again. Every one has a story.
As for one of my favorite actresses working today, Ms Hawkins, she is wonderful, too. Her American accent is serviceable if not perfect yet -- and will only improve -- and her performance, yet again, of a working class 'free soul' bohemian type is spot on. Her wild, and from the hip, decisions in romance and money, are expertly integrated and believable. If Ms Hawkins is not in a period piece, it seems she always will be cast and dressed in this same quirky manner. I am still a sucker for it. Methinks the Wife is getting a little tired of it.
I would also urge all fans of fashion and costuming to pay particular attention to Ms Banchett's costumes. She wears and accessorizes strictly top French Old House Classic designers such as Chanel, and is an absolute knockout in every outfit she wears. These costumes really nailed home the notion to me just what 'smart' means in terms of clothes and fashion. And, the fact, that they had her sweat through all these impeccable garments as her character starts to go around the bend, is perhaps oddly, one of the greatest and most moving series of illuminating character statements I will take from this film.
Much of the film was shot in The Mission in the City, which is nice to see. And, it was nice to see Ms Hawkins drink a Lagunitas IPA. (Jadot wine is all over the film, and Stoli vodka, too. Jadot is in so many films right now. They are doing a masterful job of product placement. My most sincere apologies, but, being in the industry, I can not help but notice wine product placements in film. It drives the Wife crazy!)
In terms of the horse race, Blue Jasmine will certainly be nominated for Best Picture, and Ms Blanchett has a very good shot at duplicating Ms Leigh's feat as Blanche DuBois, and winning an Oscar for Best Actress. I would like to see Ms Hawkins get nominated in the Supporting category, but I feel that would be a long shot.
Sincerely highly recommended by the Wife and I, a real return to form for Woody, is Blue Jasmine.
Ciao,
xxxoooxxx
 |
| Ah, Windsor EF Light Condensed typeface, so comforting. |
Aug 12, 2013
It is a rout!
SESPO (Spitler Extremely Scientific Polling Organization) conducted a poll over four days last week on the question: Lady Gaga or Madonna?
It was not even close.
Madonna: 73%
Lady Gaga: 27%
Two people in their twenties took pains to proclaim that Lady Gaga was their generation. Another twentysomething said they did not particularly like Lady Gaga's music, but were proud of the 'body image' message Ms Gaga projected.
Another woman in her thirties said, "There would be no Lady Gaga if not for Madonna." And, another woman in her thirties voted for Lady Gaga but told the pollster, "Do not tell my Wife."
Thank you to everyone that participated in this poll.
P.S. David Fincher directed the Express Yourself video, and Vogue, to boot! Booyah!
It was not even close.
Madonna: 73%
Lady Gaga: 27%
Two people in their twenties took pains to proclaim that Lady Gaga was their generation. Another twentysomething said they did not particularly like Lady Gaga's music, but were proud of the 'body image' message Ms Gaga projected.
Another woman in her thirties said, "There would be no Lady Gaga if not for Madonna." And, another woman in her thirties voted for Lady Gaga but told the pollster, "Do not tell my Wife."
 |
| Alright, cyrillic alphabet text tattoos. Okay. |
Thank you to everyone that participated in this poll.
P.S. David Fincher directed the Express Yourself video, and Vogue, to boot! Booyah!
You're Welcome! The Wife and I Have Watched The Canyons So You Don't Have To
Yes, the Wife and I watched The Canyons, and this is my report, to wit: Bret Easton Ellis is still a purposely provocative asshat. James Deen should not quit his day job. I have no idea what the hell happened to Paul Schrader. And, Lindsay Lohan looks absolutely awful, a fifty year old face and body on a mid twenties frame.
Moreover, I have prepared for you lucky readers a The Canyons Haiku Poem Review. Here it is:
 |
| Not only is the cinema dead, but all life is all pornography on smart phones. |
Moreover, I have prepared for you lucky readers a The Canyons Haiku Poem Review. Here it is:
Cinema a stiff,
Insists Schrader and Ellis,
And see Lohan's tits!
Like I said, you are flipping welcome.
P.S. And then bam.
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