Like: The Social Network

October 2, 2010

What elevates a film?

What takes it from “good” to “pretty good”, or from that to “best of the year” status?

Does it start with having an interesting idea and resonate simply from that? Does it take the mere humble execution of excellent script? Is it how you imbue the most simplistic of scenes with tone and mood? Is it hanging your hat on a great performer? Is it maybe is simply having an engaging score? Is it…

Okay you get it.

Filmmaking is a lot of things coming together and somehow working in harmony. Those who doubt how difficult it is, should really try it one day. You’d be shocked by just how much is out of your control. You’d be shocked by how hard it is to see what a movie is going to be until your done editing it. Things you worried about actually flourish and things you thought you nailed can easily fall flat. Filmmaking is alchemy. It’s instinctual. You just hope for some good aspects to carry the piece through….

Luckily, THE SOCIAL NETWORK is a near-flawless amalgamation of  many excellent aspects:

1. The idea – The founding of Facebook is a great story and not because there’s anything particular “movie-like” about it.  In fact, the movie engages the kinds of things we rarely see represented in culture these days: the base forms of genesis, inspiration, evolution of ideas, and even the surprising nature of our recent history.  It is largely a story about ego and how ego combines with the fear of rejection to invigorate change (both personal and cultural).

2. Aaron Sorkin – I give the man a lot of crap.  He’s obviously all sorts of brilliant, but his delight with himself often just seeps off the screen. This is not the ravings of someone who says things like that. That usually my least favorite comment in the world. The problem is in Sorkin’s case it’s just so obvious (he even admits it) that the man’s just typing with one hand. Worse, the way his characters converse as if they know what the next line is going to be sometimes means intelligence can come off *gulp* as twee(*). That’s not a good thing. It can so easily scream “manufactured!” But when he’s on point, he can soar. What works in this film is wonderfully he’s able to get into the mind of a character who is similarly solipsistic to himself: Sorkin’s found the perfect vehicle in Mark Zuckerberg. The young man is brilliant person who is more interested in being right, than being good. And Sorkin can write the shit out of righteousness. Better yet he shows that he not only understands Zuckerberg, but every character in this movie (more on that later). Sorkin beautifully uses the dialogue to excel every single character motive and never launches an off-topic diatribe. Now there are diatribes of course but they are all so inherently focused on the story/action at hand that really there was no better person to write this script. It’s the most focused work we’ve seen from him.

3. Naturally, David Fincher helps with all of that. The man is yet another absurdly talented figure in this production.  I tend to waffle around on my feelings with Fincher and readily admit that FIGHT CLUB is  his most definitive work. It tapped into the zeitgeist in a way many thought impossible at the time. Heck you could argue that movie went on to define the zeitgiest. My only problem with it is that even with its mature “grow the fuck” endgame, the majority of the hardcore fanbase didn’t’ get the movie whatsover. It was stunningly counterproductive and I can outright blame it on Fincher’s romanticizing of nihilism. But nowadays I think my favorite work of Fincher is ZODIAC. The movie is such a careful examination of journalism and the nature of truth. I love it wholly. Everything else he did? Technically audacious but they all have major, major problems at script level. Well, we already talked about THE SOCIAL NETWORK’s script from Sorkin and I can think of no one more suited for executing it. The tweeness gives way to Fincher’s unblinking, dour reality. His dark atmospheres. His sense of irony. A line that may be just” smart,” comes off as brutal in his hands. He raises the stakes. He makes Sorkin’s work cut to the bone. I walked out of the film still having a litany of perfect lines rattling around my brain: “If you want to stand on my shoulders…”

4. Then there is the matter of the score. There was a lot of curiosity regarding the hire of Trent Reznor, meaning there was also a lot of suspicion too. I imagine that many of these doubters were worried about it sounding like Reznor’s more popular industrial Nine Inch Nails tracks. I doubt that many of them had heard his work from  “Still,” which features haunting, ethereal tones mixed with piano, classical instrumentation and subtle percussive rhythm. “Still” is actually one of my favorite albums, period. As such, I have been aching for Reznor to get a real shot at a film score. And his work in THE SOCIAL NETWORK is absolute homerun. While perhaps being rather overt in some sections, it knows exactly how to walk up to the line of not-overwhelming-the-narrative without actually going over. I think everyone can point to the first “facemash” sequence as the part that stands out.

5. But even with all these stalwart aspects, the weight of the film ultimately rests on the shoulders of Jesse Eisenberg.  In some ways he’s the perfect mouthpiece for Sorkin: dry, matter of fact, fast-tongued. But what makes it him so much better than that is that Eisenberg has this wonderful ability to take Zuckerberg’s deeply introverted nature and make it appropriately ranged and functional. The Zuckerberg of the film is a terse young man, someone who constantly just have to frustratingly explain his own (and far more advanced) thought process. The frustration of being that bright makes him an inherently solitary creature. Eisenberg conveys it beautifully. He’s someone who barely wants to waste his words on things that aren’t worthy or interesting. Yes, he sympathizes and emotes with others, but often he’s speaking another language. What is amazing is how Eisenberg imbues that static detachment with a subtle emotional range. He uses the slightest change in inflection to show guilt (think of his hollow first attempt at apology to Erika in the opening scene), or to show enamor (his quiet delight when cool kid Sean Parker seconds his opinions).  It is not only a joy to watch, but I can’t wait to watch the performance a second time. It’s the work of the year so far.

6. Of course, it doesn’t hurt that every other actor in the film is a delight. Andrew Garfield plays his partner Eduardo as that guy who is at once the voice of reason and yet out of his league.  It’s heartbreaking and the emotional arc of the movie depends on his ability to be wounded and weary. Thankfully he nails it. Joseph Mazello continues his foray into older roles (check out his work in The Pacific) and he is a subtle joy in this film as the “I’m lucky to be here” guy. The biggest surprise is undoubtedly Justin Timberlake. What at first seems like obtuse casting is ultimately perfect; Sean Parker is the celebrity of their programming world and their revering of him completely works with Timberlake’s celebrity status. Beyond that, Timberlake really does play the role with such a great mix of nerdy-but-earned bravado, fear, and deeply rooted insecurity. I loved him and honestly believe this will change his career.   I also think it’s safe to say that the Winklevoss Twins are going to be a lot of people’s favorite part of the movie. They are hilarious, both intentionally and unintentionally. As for the interest in the actors who play them, I won’t necessarily spoil it, but let’s just say that Armie Hammer has big things in his future. Lastly, I have to mention Rooney Mara’s brief portrayal of Erika, which works as a convincing lynch pin of the film.

So…

THE SOCIAL NETWORK is not a flawless film. It runs out of steam before sweeping in with a poignant stopping point, but it never outright collapses either.

What really is important about the film is how it really manages to define a decade that has seen it’s society flock to the internet and recreate an idealized social representation of their own life.  It never goes into any of this as outright discussion of course. But it’s all there. It’s in details and moments that we extrapolate into a bigger meaning about why people drive to go on the internet. We look at Zuckerberg’s long, lonesome walks on the wintery campus. His dissatisfied contempt of social structures and people who “have it easy.” His belief in his own ability. His concern for what is right over what is kind (Okay, fuck being kind, he’s more concerned with being right than not being a total asshole). His jealousy of friends. His secrecy and duplicity. His desire to show who are and what we want right on our sleeves. To penetrate the difficulties of real society. These are all things we all deal with, but admittedly it is the plight of some more than others. The internet makes it easier to both engage and retreat. For the tepid person in all of us it is a revelation. One that will inexorably change us forever. But we can never forget that it has also made even the nicest of us be callous jerks (ahem.. i may have once right a feature about 5 people I’d like to punch). We iunwittingly become like Zuckerman just as he has unwittingly became the voice of the internet.

We are all Zuckerman.

And we are legion.

Endnote.

* Old timey movies are written like this, but I tend to be more accepting. In fact I often love sharp, unrealistic dialogue. The key is just to have characters who don’t seem to be aware they’re engaging in witty reparte. It’s what makes the first Ocean’s movie work. It’s what makes Sorkin’s CHARLIE WILSON’S WAR work. And it’s what makes THE SOCIAL NETWORK work.


Don’t Like: The 42 Funniest and/or Scariest Search Terms Used to Find My Blog

May 26, 2010

Reader: Beware.

You are about to stare into the dark id of the internet… and it is not pretty.

Those of you who may have your own website may be aware that you can see the search terms that one entered to click on your site. The results are often shocking.

Those afraid of being found out, don’t worry. We can’t see who you are or where you are… just the terms independently. So technically we can only see “what” you are.

I’ve seen the mind of the internet. And it is sexist, racist, ill-informed, and completely nonsensical

Without further ado, the top 42:

……….

42. Sexiest budwieser

-I don’t get it and It’s still hilarious. I have no idea why someone would search for this, nor what it even means. I sorta picture a dancing budweiser bottle.

41. Patrick swayze basketball

-Did he ever play basketball in a movie? I’m not sure about this one. Maybe something I’m not aware of. I just like it.

40. what kind of roids give you acne

-All of them. Glad to know that’s your primary concern though. Good luck with that.

39. reality tv informs people about health

-No. It doesn’t.

38. sweating basketball players players

-Players is doubly important. Also their sweat.

37. how people look when have aids

-As bad as your syntax.

36. scottish terriers fucked up dogs

-Scotties are adorable you jerk.

35. fuck her

Previously discussed.

34. 4 friends hang out with drugs

-My guess is they needed a picture. Otherwise this makes no sense.

33. Does shane black like fan mail?

-I wonder if Shane Black likes fan mail? To the internet! Really, I think most people don’t understand the difference between a search engine/yahoo answers/the concept of general inquiry.

32. Mia who is she?

-Again. The internet is not something you can ask questions to. And fyi, it’s M.I.A. and she’s a really good hip-hop/tribalesque/alternative recording artist.

31. sugar cookie death

-Sweet, sweet death.

30. black basketball player guarding a white

-I get TONS of shit like this. Vaguely racist basketball talk fuels the internet.

29. I don’t like safety laws

-Darwin award forthcoming.

28. can u play football if you have hiv

-Yikes.

27. “Busy?”

-You don’t need quotes for one word searches. And what the hell are you going to find asking this? No Idea.

26. iconic boxing images with gloves

-Hope you found some.

25. nazi+herion / naked heroin users (tie)

-The plus sign kills me.

24. kobe bryant gay pictures

-This one is really popular.

23. i like to do it with my sox on

-Notice the baseball spelling of socks.

22. old fit men

-I like to think of this as hopeful

21. “veronica lake was not a good”

-Is the “a” a mistake? Did they mean “god”. Why did they have the presence of mind to put quotes if their sentence if it makes no sense? The questions are endless.

20. Crystal meth 2008 like election

-Whereas this just plain makes no sense.

19. makes no sense

-Whereas this is literal.

18. Fear of pooping when around people

-Everybody Poops.

17. i’ve just dumped someone i really like

-Why’d you do it then?

16. touching badass buffy

-Who wouldn’t?

15. feminists but…

-Haha. One of my faves. The possibilities are endless.

14. Elizabeth taylor puffies

-Bwahahahaha.

13. Snorkel, woman / Fat people snorkeling / Snorkel fuck (3 way tie)

-Snorkel is truly a great word.

12. i don’t like football am i gay?

-No.

11. i’m going to kill you in the face

-Not in the face!

10. mr. manhattan watchmen

-The “mister” kills me. Like “mister manager” from arrested development.

9. complete ass compleat ass completely asi

-I desperately want to know how this ends.

8.  jessica alba mayo

-Gross imagery abound!

7.  how do i pick a title for my memoirs

-If you have to ask this question you probably shouldn’t be writing memoirs. Or writing in general.

6.  iron giant sex

-Oh god. We’re entering weird cartoon nonsensical fetish territory. This one actually makes the LEAST sense of any cartoon to boot… Amazing movie though.

5.  maribel – fucks daughter classic

-And it gets darker. Down the rabbit hole we go…

4 – white baseball players don’t like ugly black players

-Again. More weird basketball racism. What makes this one special is that it seems to be implying all black players are ugly… yikes.

4a – Dumb Michelle Obama Beaten Up Fuck Sex and then: Dumb Michelle Obama Beaten Up Fuck Sex Pics

-DEAR GOD. I mean… ugh. You wish you could pull out a person’s mind and look at it sometimes. See how someone’s entire fears/racism/attraction all get mashed up in this reactionary nonsense where they turn to the internet to satisfy some insatiable and completely fucked up desire. Better yet, there is NOTHING about this search based in any kind of reality. And then the insistence to come back and look for “pics” again is the icing on the cake.

3.  acceptable molestation

-Nope, it’s never acceptable

2.  my vomit is red

-Please call your doctor.

1 .  abiggail breslin nude feet

Just… I mean… god. I can’t… it’s just… GOD. Forget about the pedophilia/foot fetish cross over, and the mispelling…it’s just even the syntax… i mean… how… why… ugh… I don’t feel so good.

Forget this…

… Then again, it’s sort of scary knowing that these search terms can actually somehow lead to my blog.

… Yikes.

Honorable Mentions:

toilet plugged, self-improvement stuff i like and stuff, fuck hansbrough, who s who, love, normal kid, public speaking is like…, miss daisy racist, freakin nuts, “george carlin” 2008 photo, david merkin asshole, showtime synergy, funny internet, white and black basketball players fight, how to make the most of my gym, people who don’t like country, irish faggot, youkilis swearing espn, stuff the irish like, basketball players penis, Basketball intelligence black white, Medicine sucks, Girls pants pissing, Puking and peeing.


Don’t Like: How Everything Is Totally Shitty Right Now

May 6, 2010

Everything is totally shitty right now. This is worth acknowledging.

You may have noticed I’ve been posting subjects of pretty much only stuff I like for the last year or so.  Part of this stems from a desire to be optimistic and not just resort to the ease of snark.  At one point I went back and skimmed all my posts and I realized just how easily I fell into inane belittling and mean-spirted-ness. Not overtly so, I’m not one of those bloggers who just unleashes pure venom against everyone and everything… just more than I’d like. It was mostly surprising because I don’t believe that to be part of my nature.

But it’s hard to deny that there’s a lot not to like right now.

For example: The gulf coast is now engrossed in one of the worst ecological disasters ever. For those thinking I’m about to crow on about environmentalism, there is in fact a larger human tragedy to this. The gulf coast fishing industry is now hampered once again. Maybe even effectively killed. The magnitude of the damage will have ramifications for years and it will cost the local gulf economy untold millions. Think this is exaggeration? The Exxon Valdez spill wasn’t a fourth the amount of oil spilled here and they are still feeling the effects 20 years later. I visited New Orleans just a week and a half ago and cannot tell you how much I love that city. And now to think that as they were just getting back on their feet after Katrina, all may be undone.

But there’s a lot more than just this. Horrible storms have flooded Tennessee’s great cities. Arizona just made racial profiling not only legal, but an active policy. Oklahoma legislature just made it okay for doctors to withhold information from patients. Britain may be in the midst of actively overthrowing their party in a special election. Cuba had their worst sugar harvest in over a century (this will be a bigger deal than you think). Oh yeah and Greece is going broke and effectively destroying the worldwide economy in the process. They’re not happy about trying to deal with it either.

I understand the impulse to politicize all these stories. Please. Don’t.(1)  Just take them at a human level.  Yes, there are always tales of something going horribly wrong somewhere in the world, but what’s striking about the climate right now is that all of these problems are of incredible magnitude. They’re the kind of stories that could dominate front page headlines for weeks and since they’re happening all at once our magnet-ball media doesn’t even know how to construct a uniform narritive. People need to be caring, but really there’s almost too much to address. So let’s just notice how extreme these situations are are… pretend they were happening directly to you. For some of you, maybe they even are.

These problems are not distant. They are immediate. They are American. They are all the kind of problems that we usually respond to with the kind of self-sustaining vigor that defines us.(2)

We just can’t seem to keep track of them all.

1 – It’s really hard not to politicize them, especially as Fox News continues to spit insidious conjecture about almost all of these subjects; including Michael Brown’s claim that the Obama administration wanted the oil spill to happen and did little to shut it down. Not only is that radically unsubstantiated, but it’s the kind of claim reserved for nutty 9/11 conspirators.  I’m not going to say that it can’t be put on television. That’s fine. I’m just saying you’re ethically bound to standards when you put this kind of information under the guise of “news.” It’s Fox’s fundamental flaw. Not that they are conservative, but that they undermine their own credibility with this kind of haphazard nonsense.  In fact, most of my favorite sources of information tend to lean conservative and I like them because they help me think about a problem in a different sort of context. Meanwhile, I have to out ignore fox news  in order to just get through the fucking day.

2 – and possibly our bullish-ness.


Love: Rita Hayworth (1941)

February 27, 2010

“It’s Not Just Who But When…”

This statement was made by an acquaintance of mine some years ago when the question was prompted, “Who would you like to meet more than anyone else?” And from that very moment I fully and completely realized how important timing is when it comes to the reality of a person. Often the ideal timing is that ideal cusp where the fame is new and surprising to the person themselves. Where they are overcome with both the humility of that responsibility and possibly even embarrassed by it. It is certainly when they are most thankful. And certainly ever since that initial conversation I’ve always reiterated when it comes to any such list, “It’s not just who but when…”

Now as a wrinkle, this ongoing series of portraits will only specifically deal with the women of the last 75 years of so who I consider to be the Most Beautiful and Alluring in the world. I’m well aware that the internet can quickly descend into  a game OMG SHE’S HOT, LET’S OGLE HER! (though ogle is probably not used that often) and we find ourselves skirting into objectifying and ultimately even exploitative territory. Please know that that is anything but the goal here. The goal is reflect on moments in time, go over some film and television history, talk about the nature of image, and engage the subject of sexuality in media forms. And yes, most of it will be in adoring circumstances so don’t expect much of sterile criticism, but that is definitely the world of thought it will be coming from.

This ongoing series will attempt to go chronologically.

…So of course it starts with Rita Hayworth.

And how couldn’t it? Rita Hayworth is considered to be in the top five movie stars of the classic movie era, but she is far and away my vote for the most beautiful and distinctive. She didn’t nearly have the chops but her entire look was transcendent and ahead of its time. And by her third major film she learned how to hone in her natural personality and translate it to her performance, much like Marilyn would do later on. The difference being that Rita’s screen presence was so effortless. Rita was inherently in three dimensions, and glided about the screen with guile. Marilyn more seemed to stomp about, hit her marks, and pose accordingly. To put it bluntly, Rita could be watched, but Marilyn could be looked at.

Perhaps Rita’s natural presence had something to do with her extensive background in dance. Admittedly, I’m not talking about the illustrious ballet at the MET kind of background, but more the smokey nightclub sort. She did have formal training from youth and professional Latin dance training; she never worked anywhere scandalous mind you, but she did work in the sort of high end nightclubs where  someone with her talent and beauty could rise to prominence without necessarily having to engage in the more sordid ends of that world (like so many others did). And so as one of these promising young dancers she showed up in a host of background dancing roles and B movies.

The first big break for Rita was ONLY ANGELS HAVE WINGS (1939) by Howard Hawks. Going by the logic discussed in the italicized intro above you would expect this to be the optimum moment to meet her, but I disagree. She wasn’t Rita Hayworth yet. She was still too rough around the edges (and I’m not necessarily talking about her eyebrows, which weren’t shaped into their defining status yet, but that would be… shallow? But she really didn’t look like “Rita” yet). More importantly, she just needed a little more seasoning on her on screen persona. Of course I could also go with GILDA(1948) and that oh-so-famous hair flip which has defined her for decades, but that isn’t it either.

For me the answer is easy to when Rita really became Rita. She’s a dancer right? So what happens when you pair her with Fred Astaire. The legacy of Rita Hayworth always seems to forget this in the wake of Gilda-hair-flip, but for me she was never more amazing then when she was teamed up with Astaire in YOU’LL NEVER GET RICH (1941). The movie’s not all that perfect, but they are. In a way that’s all that matters when you go back and watch it today. It’s one of my favorites.  Even though Astaire is famously linked to Ginger Rogers as he dance partner, he always spoke most fondly of Hayworth’s influence on him. They were able to use a lot of her Latin influences and they would then go on to make YOU WERE NEVER LOVELIER (1942) together as their last collaboration. Don’t believe me that they were an amazing pairing?

Start this video at 2:25. It really shows just how glamorous, beautiful and elegant she was:

Pretty, but nothing special? Okay now check this one out as it actually shows off their moves.

Of course she’s just trying to keep up with Fred during a lot of the fast stuff, but come on… How is Rita NOT amazing? When I think of my favorite classic film actresses. I think of her. When I think of the most beautiful I think of her. How could I not start this series with Rita Hayworth?

… Of course like most stars of the era there were behind the scenes troubles. Ups and downs and heavy drinking. All that stuff. Honestly I’m not all that interested in that part of the story. To me there’s merely what’s on screen and that knocks me out. Nothing else needed. As far as ends go, she ended up suffering from Alzheimer’s the last 5 years of her life. Ugh. I watched my grandmother die from Alzheimer’s and I can tell you that the very thought of this is tragic to me… No one should ever forget Rita Hayworth.


I Write a Dumb Blog…

January 23, 2010

I write a dumb blog. The syntax of this statement is purposefully atrocious, but I embrace the grammatical horror with the same warmth that I embrace the concept of this blog itself. You see, even though I may want to be a writer, this blog does exemplify the merits (or even highlight the goals) of that desire. It instead serves a completely different function in my life: I tend to write compulsively, with constant ebb and flow throughout my day of work, emailing friends, or arguing sports, or posting lame observations. And rarely, if ever, is it because I want to tell people things. It is because the mere act is wholly satisfying. There is conversation going on constantly inside my head, one that seems of grave importance, but usually being about nothing more superfluous than surprising aptness of certain films or the lacking qualities of certain people. But if I do not share these things, they are somehow lost. An argument inside my head is nowhere for it to live. It should breath. It should be expressed and crafted. And maybe if it is lucky it should be ever so lucky as to be read by a single eyeball; because inherently the passing thoughts and notions inside one’s head are horribly lonesome things.

It’s not an alien notion. It is why people with absolutely no writing talent blog in various forms and why they share the most menial and useless details of their lives. The motive is not different from the most eloquent thoughts an essays of some of our great writers. When they think, or wonder, or develop a passing material fancy then one simply wants to feel like someone is coming with them. This is not to say this exercise is sad or pathetic, but just ultimately necessary. We tend to chastise those who share every detail of their lives as conversely having “no life” or probably lacking someone to share it with, but I find that to be a false appraisal. I have a wonderful significant other with which I share my life and hope to til the end of our days, but quite honestly, if I were to assault her with the daily pointless musings on “stuff” that pass through my head with alarming regularity, she would have long since obtained, loaded, and fired a shotgun directly into my person. And it would be wholly justified. Our significant others are there to enjoy the wonderful quiet and happy moments of our lives, not to listen to our needless crap, be our punching bags, or let us blow off steam. They are to be cherished. And so I write a dumb blog to bring people through the inherently lonesome and terrifying journey of trying to figure “stuff” out. Which I admit, makes it all the more strange that most of my arguments and theories are wholly declarative in nature. If I was really wondering or entertaining notions my blog would be far more nebulous and obtuse. It often reflects a cocksuredness that is completely absent from my actual mental dialogue. And such is a function of my own limitations.

And they are limited. I truly consider the quality of this blog to be substandard. I often rush out posts with one menial edit simply because it makes no sense spending infinite amounts of time crafting some thoughts that are wholly disposable. Which is not to say the thought or reasoning behind them is invalid, or that I’m not proud of some posts (the feminism one is rambling but I actually thing stands as pretty insightful. It certainly gets the most attention and emails to me). But I wholly assure you that all my best work sits in the litany of unfinished drafts that seem to outnumber the posts I already have on here. Mega Part 2’s that were promised, detailed analysis of tax policies, and the logical fallacies of a sub-standard health care system. It’s all my best work, yet all hopelessly half done and untimely (posts with some perceptive 2008 election coverage anyone?).

But the ultimate point is this: this blog is going to change. It’s going to become even more obtuse and superfluous. But only because I’ve already started, and going to start  another blog which will be far more serious and professional in its aims.

The first blog which has already started is called www.foodilikeandfoodidontlike.wordpress.com and it evaluates food, restaurants, and culinary philosophy with far more seriousness than is often found in there. I hope to make it informative and fun, but wholly admit it’s core audience will be foodies and those with mild food curiosity.

The second blog is going to something else entirely. Devoid of gimmick or pomp, there will be actual, serious journalism comprised of interviews, profiles, and long form non-trivial essays. And I’m determined to make it actually good.

I will continue to post on stuffilike for sure. And I hope it will be entertaining. For example, I’m currently planning a long reoccurring series about sexual icons of yesterday and today and why there has to be a way to talk about them with an apt social and totally-non-sexist context.

So why talk about this? Is it really important to announce a paradigm shift in philosophy for a stupid blog? Well sort of, because this blog is surprisingly popular. Not mega popular “did you hear about it on so and so?” kind of of way, but in the way that I have a decent amount of actual readers who are not my family (or even friends!) and hundreds of people coming in the form of float-in-traffic every day (side-note: the search engine terms people use to find this blog are absolutely fucking hilarious). And I really do appreciate those who take the time to read. I truly do.

So I just wanted to give a heads up. Hope to keep seeing you.

Thanks to all,

Mike


Like, Best of the Decade Edition (Music): ILLINOIS by Sufjan Stevens… and where the hell is his next for reals album?

December 10, 2009

Note: So I wasn’t going to do the whole best of the decade thing that’s become a big fad, but what the fuck? It’s fun.

I started thinking about my favorite album of the decade at some point a few months ago and I realized something strange. I’ve sort of stopped listening to new music in the last two years. This is inordinately strange for me. I used to scour ravenously for new bands and sounds and constantly badgered my friends who had similar inclinations. And now I find myself suddenly, well, disinterested. For two years, I’ve been listening to the same music I’ve always listened to (which granted, is a metric-fuck-ton) and revisiting albums I’d left behind.  It prompted me to picture myself in the future, 20 years from now, sitting and listening to some old Flaming Lips albums the way my dad still listens to his old reggae albums on vinyl (yay Ja Spirit!). Music’s like this train that rolls right along and you can go as long as you want. But when you stop to get off, you’re off. And right now, I’m off… I’m also content with this.

This is relevant to my point for one reason, which sadly involves another tangent: If you were to ask me what my favorite album of the decade was, I would have instantly answered Radiohead’s Kid A for some self-obvious and tangible reasons. For starters, it had a profound affect on me, both in terms of taste and how I physically listen to music. I still maintain that the album serves as the great Rosetta stone for how to listen for sub-sound and sub-melody. To boot, it just sounds so god-damn advanced. Like it’s made by those gastro chefs who can turn gasoline and cake batter into a some kind of edible ice tart. Which is not to say that’s what matters it music, just that it’s an easily tangible way to identify genius. So I started constructing lists and arranging stuff in my head and just always sort of assumed Kid A would be at the top of my list.

So now then, over the last month I’ve been listening to a bunch or albums from this era that I liked, and I found myself listening to Illinois by Sufjan Stevens over and over and over (I spend a lot of time in a car and still use good old fashioned cds. I’m not a luddite it’s just my Ipod was stolen forever ago and I’m still bitter about buying a new one. That shit’s expensive). And it was like some remarkable rediscovery of the album, far from it, it was something else entirely:

I realized: I listen to Illinois all the time.

I got the album when it first came out and it has never left my car. It has never been far off my Itunes. I routinely throw songs from it on mixes. I find myself whistling little bits from it. Most of all, I write to music and and I seriously can’t think of a better album to listen to while writing. I realized I literally don’t go two weeks without listening to a song from that album, and I’m not sick of it. And it’s been five god damn years folks.

I don’t consider myself to be predisposed to liking Sufjan Stevens. There’s a kind of inherent preciousness to his music that just begs for a nice reactionary/illogical criticism. But I have no interest in playing that role. I’m highly aware that there’s already a heckuva lot of, nay unanimous critical praise for the album, but it rolls off my shoulders. I really don’t care what people think of it. It’s really good and everyone knows it’s pretty good. It’s just I’ve merely been unaware of how much I truly loved it. Debate if you will, but I have nothing invested in this argument. It’s not like I’m trying to prove why it’s good, or relevant, or lovable, or sucks, or any of that nonsense we try to do when arguing about music.

It just is.

It’s an album that’s exists out of all other contexts for me. Something I enjoy on the most basic, if largely subconscious level for so many years. Unlike Kid A, which immediately go into my head and in my heart, Illinois has done than far more impressive feat of getting in my bones.

And that’s what I think matters. I could talk to you about the intensely personal song writing, the epic tone and feeling of the music, it’s rich sense of atmosphere, it’s alternating of upbeat with aching melancholy, while often slyly fading with its use of both at once. But all that sort of feels irrelevant. Music is the most intensely personal form of art you can relate with….

And this one got me in my bones.

-mgss

Addendum:

-I went with Illinois and not “Illinoise” because it’s intentionally confusing withthe album cover/actual naming.

-SERIOUSLY, when the hell is he going to make another for real album and not some crazy mixed media thing or unreleased B sides? I’m jonesing.

-Honorable mentions:

Kid A by Radiohead – reasons aforementioned

Funeral by The Arcade Fire -I can’t think of a better debut album off the top of my head. Just amazing awe inspiring stuff.

Good News For People Who Love Bad News by Modest Mouse – sure it’s the popular album. So what? I’ve seen nothing but a long list of critics looking for reasons to include the other MM albums on their best of lists and I don’t get it. It’s great top to bottom, why can’t we acknowledge that there’s a reason this album hurled the band into the big time for a reason? I love The Moon and Antarctica too. Hell nobody love Sad Sappy Sucker more than me. So why do we have to pretend this one wasn’t even more awesome again?

Yoshimi Battles The Pink Robots by The Flaming Lips – w/ this and MM, it’s the 2000s, otherwise known as when great bands that had been together for a decade got popular.

Late Registration by Kanye West – I’ve seen college dropout on more lists than this. Why? Because not as many people were into him then? There’s probably nothing more pretentious then a pretentious rant about critics being to pretentious, but seriously I don’t get this. The Jon Brion produced(!) Late Registration is just a superior, incredible album.

Others: Kala by MIA, Return to Cookie Mountain by TV on the Radio, Stankonia by Outkast, Z by My Morning Jacket, White Blood Cells by The White Stripes, Turn on the Bright Lights by Interpol, Sea Change by Beck.


Like: This Article Absolutely Eviscerating Ayn Rand

November 2, 2009

I rarely do a quick blurb and link, but I couldn’t resist.

I’ve detailed my dislike of Libertarianism, Ayn Rand*, and even Slate before, but here is Johann Hari’s excellent and scathing evisceration of Ayn Rand based on two new biographies (props to Travis for the find).

Enjoy:

http://www.slate.com/id/2233966/

*I have since attempted to actually read Atlas Shrugged and get halfway through before giving up due to inherent nonsense. Meanwhile I have read all of the fountainhead in sort-of-skimming fashion.