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by PopMatters Staff

8 Apr 2009

1. The latest book or movie that made you cry?
The last movie that made me cry was The Wrestler. In my head I was crying, but I didn’t exhibit it publicly for fear that I wasn’t wouldn’t be perceived as tough enough. Just kidding. I did get emotional when Mickey Rourke’s character explains to his daughter that he is washed up. I couldn’t help feel that maybe we are all washed up in some way. Maybe sometimes you can’t really follow your dreams?

2. The fictional character most like you?
I would probably say Hiro Nakamura from Heroes. I think his penchant for being a super hero is really appealing to me. He has great imagination and tries to accomplish the impossible. I can really relate to his good heart as well. Maybe we look alike too? More people should be like Hiro!

3. The greatest album, ever?
Very tough question to answer. I could probably elaborate on some albums that shaped my musical way of thinking. One album is The Beatles’ White Album (1968) and the other is The Kinks’ Village Green Preservation Society (1968). Both records really taught the power of melody and storytelling. Even if the melody is simple it can still have a great impact against a well-crafted musical bed.

4. Star Trek or Star Wars?
Star Wars all the way. I was raised on Star Wars and I have such great memories of going to the toy store and purchasing the various action figures. If I had saved them all they would probably be worth a fortune right now. At some point as a kid, I believed that Star Wars was real. I know there are some adults out there that think that way too…

5. Your ideal brain food?
My ideal brain food is Wasabi Peas. I can’t get enough of them. I like to pop a handful in my mouth and see how long I can stand it. It usually starts making my eyes water and after that I can really concentrate on anything. Everyone should try it.

by Sarah Zupko

8 Apr 2009

Conor Oberst and the Mystic Valley Band returns May 5th with their sophomore album The Outer South and Merge has just released a free MP3 “Nikorette” from the record. The group also has a bunch of upcoming concerts, including appearances at the Telluride Bluegrass Festival and Summerfest in Milwaukee. Plus, they are offering up a documentary on April 15th called One of My Kind and we’ve got the trailer here for you. It’s big month for indie rock docs with Arcade Fire and the Hold Steady releasing theirs this week.

Conor Oberst and the Mystic Valley Band
“Nikorette” [MP3]
     

TOUR DATES
April 9: Omaha, NE @ The Slowdown
April 10: Denver, CO @ Ogden Theater
April 11: Aspen, CO @ Belly Up
April 12: El Paso, TX @ Barnett Harley Davidson
April 13: Albuquerque, NM @ The Sunshine Theater
April 14: Tempe. AZ @ The Marquee
April 15: Pomona, CA @ The Glasshouse
April 17: Indio, CA @ Coachella
June 17: Colorado Springs, CO @ Black Sheep
June 18: Telluride, CO Telluride Bluegrass Festival
June 19: Moab, Utah Star Hall
June 20: Salt Lake City, UT Library Square (Utah Arts Festival Kickoff)
June 21: Boise, ID Knitting Factory
June 22: Missoula, MT Wilma Theater
June 24: Minneapolis, MN First Avenue
June 25: Milwaukee, WI Summerfest
June 26: Omaha, NE Anchor Inn
June 28: Kansas City, MO Beaumont
June 29: Columbia, MO Blue Note
June 30: Louisville, KY Headliners Music Hall
July 01: Cleveland, OH Grog Shop
July 02: Bearsville, NY Bearsville Theatre
July 03: New Haven, CT Toads Place
July 22-26: Carrboro, NC XX Merge

by Rob Horning

8 Apr 2009

Vanessa Grigoriadis’s carefully balanced article in New York magazine about Facebook basically boils down to this: The social networking thing is neat for people in their 30s because they get to find lost loves, etc., but then it gets kind of boring and/or creepy. As I was reading it, I had a strong impulse to destroy the Facebook profile I have. I don’t really use it for anything. It’s more of a post-office box I check now and then to see if anyone surprising has thought about me. Am I using it wrong?

I’m not sure if it makes more sense to not log in very much or not have a profile altogether; I don’t want to be invisible to the people who might try to find me on the site, but I don’t want to be responsible for updating it, nor do I want it to fall out of date altogether. But the idea of “sharing” on it—well described by Grigoriadis as “the most important Newspeak word in the Facebook lexicon, an infantilizing phrase whose far less cozy synonym is ‘uploading data’ ”—is pretty off-putting to me. My writing here, though I sometimes draw on personal details, is ultimately meant to be impersonal. At least, I hope it’s interesting to people who don’t know anything about me. But if I were updating Facebook, I would feel as though I was rubbing people’s noses in the glory of my life, such as it is. Perhaps I would rather share time with people than information—or would rather that the information shared emerged from a reciprocal, real-time exchange, not from a mediated broadcast.

I can’t say I derive much voyeuristic pleasure from Facebook either, the sort that Grigoriadis describes. It all makes me feel uncomfortable. Information that is thrown at me without context, with Twitter-like brevity, doesn’t feel like “ambient presence”; it seems like irritating static. And it has tended to diminish my memories of the people, who before Facebook’s advent, I used to wonder about. Now that I can find out what they have been doing, I already sort of know, and it’s dull. They are living their lives without reference to me, of course, but they are seeming to force me to know about it, and the only way I can fight back is with broadcasts of my own. But then I’d just be perpetuating the spiral. I guess I’m selfish like that. I want messages tailored to me personally; I don’t want the every-hour equivalent of the mass-mailing Christmas card.

It’s a bit like being trapped at an elementary school talent show (though that might be the most patronizing thing I have ever written). People seem to be trying to hard, or are entirely unaware that they should be trying, or—like me—they have just frozen up there on the stage. Or to use a slightly different metaphor, Facebook is like being at one of those theatrical performances in which there is surprise audience participation. I find this incredibly embarrassing, no matter who is induced to participate.

But what really bothers me about social networking is something that Grigoriadis celebrates (though maybe it’s just a rhetorical strategy to achieve that balance): the way it trivializes intimacy.

This is part of the magic of Facebook, where many actions that take on weight in the real world simply don’t pack the same punch: You can reconnect with long-lost friends without a gooey, uncomfortable e-mail about why you grew apart; you can forget to return Facebook e-mail and nobody minds; you can click obsessively on someone’s profile and there’s no way for him to know it.

But maybe we shouldn’t blow off the attempts people make to communicate with us or have a service to make us feel okay about it. If it’s okay if someone doesn’t respond when we try to reach them, than that communication is taking place within a vacuum; it’s not meant as communication at all but is instead a posture, a pose. Look at me, reaching out to you. And also, without the gooey emails Grigoriadis spits on here, the reconnection between old “friends” is merely nominal; it’s a pretense, a fantasy, insignificant. And sadly, it precludes the possibility that the gooey email will ever be written. Without such communication, the world—the “social graph,” as Facebook’s executives like to call it—is diminished. Yet Facebook seems to exist precisely to obviate awkward discourse.

But awkwardness is inescapably necessary. It’s an almost physiological signal that something emotionally significant is taking place. If Facebook eradicates such feelings by giving us such granular privacy controls that we prevent the possibility of embarrassment, then our lives become poorer, emotionally. The people we connect with through the site seem less than real people; they seem like shadows of the real people we thought we knew—the reality of these “friends” remains offline and even more inaccessible. In the place of intimacy, we have the more convenient alternative of user friendliness, the triumph of a new, corporate-mediated politesse.

by Rachel Balik

8 Apr 2009

Running a total of three and half hours with two intermissions, the Theater for a New Audience’s production of Hamlet at the Duke Theater, like the character Polonius, fails to be brief. Fortunately, director David Esbjornson made every line count and managed to keep almost everyone in the theater, and fully engaged. 

In order for a modern production of such a canonical (and ubiquitous) play as Hamlet to succeed, it must unearth new mysteries. Shakespeare buffs will easily revert to the usual banalities such as “how will they decide to stage the ghost?” These questions are inevitable, but a stellar production must transcend them to acquire sufficient raison d’etre. In Esbjornson’s version, that compelling, thought-provoking tension stemmed from a dexterous treatment of moral ambiguity and emphatic emotion. The set was a minimalist yet seductive blend of shifting black, whites, and grays; each tone a deliberate but naïve instrument of inevitable confusion and discontent.

 

by Bill Gibron

7 Apr 2009

There are two kinds of musical scores in movies - those which do their damnedest to announce their presence and participate in the stories/scenes/scenarios being offered, and those that are content to sit back and act like scented candles in an overall atmosphere of shared experience and communal creativity. The former tends to make up the vast majority of today’s musical output, composers so concerned about the next job that they have to make their sonic status good and known less the next skilled craftsman take their place. We see it all over the mainstream movie dynamic, from the underrated Danny Elfman to the overrated John Williams. The latter, on the other hand, is far trickier to get a handle on. Rock and roll icons like Radiohead’s Jonny Greenwood and Blur’s Damon Albarn can step out of their bandmate mode and give subtle, signature sounds to even the largest project, while the genre’s biggest names continually revert to the same old pomp and cinematic circumstance.

This passive-aggressive act is perfectly illustrated in this installment of Short Ends and Leader‘s soundtrack overview, Surround Sound. In looking at three recent releases, we find illustrations of both flash with little substance (Monsters vs. Aliens), electricity with more fuel than any film should have (Crank: High Voltage), and the kind of subtle softness that balances support with symbolic shimmer (Sunshine Cleaning). Oddly enough, in two of the three cases, the studios have decided to “accent” these offerings with the same old canned pop charts chum that’s supposed to act like a kind of instant recall. While they work in one (Cleaning), they really undermine the epic earnestness another is attempting. In all three situations, however, we can literally see where ego usurps artistry, and where a need to be recognized is measured against the ability to truly support a motion picture paradigm. We begin with:


Monsters vs. Aliens - Music From the Motion Picture [rating: 6]

It’s tough for composers to make the transition from assistant to featured player. It’s doubly difficult when you’re moving from creator of additional music (for movies like Pirates of the Caribbean and Kung Fu Panda) to producing the score for one of 2009’s possible blockbusters. That was the assignment given to Hans Zimmer protégé Henry Jackman. The classically trained UK artist who once collaborated with known pop music producer Trevor Horn, was asked to take on Dreamworks CG spectacle known as Monsters vs. Aliens. Following the tale of an everyday bride struck who grows 50 feet high after being struck by a meteor (she is then kidnapped by the government and secreted away with other so-called “creatures”) the assignment required Jackman to balance the needs of the narrative with the overall campy nature of the project. And just to make things a tad more interesting, he had to make room for a myriad of mandated “classics”, tunes taken in to suggest the 1950’s foundation for the set-up.

If Mars Attacks! and Wolfman Jack had a baby, the bizzaro world offspring known as the Monsters vs. Aliens soundtrack would be the result. Part b-movie schlock, part playlist from an out of touch studio exec’s IPod, this perplexing combination of score and songs gives sonic schizophrenia a new name. On the one hand, Henry Jackman does a marvelous job of matching the movie’s inherent camp with his over the top marathon orchestrations. Nothing here is small, not even the moments where the music drops down to supplement something sad or dramatic. Instead, numbers like “A Giant Transformation”, “A Wedding Interrupted” and “The Battle at the Golden Gate Bridge” literary excite the speakers with outsized action film scope. Then, just as the backdrop is promising something truly grand, we are taken aback by moldy oldies like “Tell Him” (by the Exciters), “Wooly Bully” (from Sam the Sham and the Pharaohs) and that Dr. Demento benchmark, “Purple People Eater”. We expect there to be some bows to ‘50s fluff when it comes to a movie named Monsters vs. Aliens. What we don’t need are the same old Happy Days jukebox tracks shoved down our sensibilities.



Crank: High Voltage - Original Motion Picture Soundtrack [rating: 9]

When I arrived in theaters three years ago, no one knew what to make of Crank. It starred up and coming action adrenal gland Jason Statham and was helmed by a pair of aggressive upstart who referred to themselves by the last name novelty Neveldine/Taylor. Working on the neo-noir premise of a criminal with 24 hours to find the people who poisoned him, it was a video game gonzo trip into a wild ride world of testosterone, stunts, and scantily clad women. With an ending that suggested a possible (if highly improbable) sequel, and a growing cult following thanks to DVD, the inevitable update is here. On the negative side, the studio (Lionsgate) won’t be bothering to show the film to critics. That’s never a good sign. On the positive, however, is the sensational soundtrack from Faith No More’s/Mr. Bungle’s brilliant Mike Patton. Like a retarded rave on hallucinogenic, this multi-track masterwork is what contemporary composition is all about.

Like a kitchen sink gone psycho, this all inclusive sonic smorgasbord runs the gamut from balls out rock, ridiculous electronica, pure punk posing, and slinky lounge lizardry. There’s buzzsaw riff riots and overcharged chill outs o’plenty. Over the course of 32 astonishing tracks, Patton plays both participant and provocateur, giving Crank: High Voltage its necessary zing. You can practically see the cinematics propelling “Juice Me”, “Ball Torture”, “Shock and Shoot-Out”, and “Car Park Throwdown”. Elsewhere, Patton puts his own unusual spin on situations such as “Organ Donor”, “Porn Strike”, “Surgery” and “Epiphany”. For those used to the typical faux rock chug of the noxious nu-metal tracks that supposedly suggest brawn and battlements, the score for Crank: High Voltage is an astonishing ear-opener. It argues that, sometimes, a more avant-garde approach to aural backdrops is far more fascinating that more mock Marilyn Manson. Here’s hoping Patton continues is the realm of reel music making.



Sunshine Cleaning - Original Motion Picture Soundtrack [rating: 8]

When Michael Penn broke out of his famous brother’s shadow in 1989, delivering his debut album March and the MTV hit single “No Myth”, few could imagine the eventual path his career would take. Over the course of seven albums and numerous guest stints, he’s developed an oeuvre both instantly likeable and quietly insular. Current married to pop chanteuse Aimee Mann and working on films as well as his own self-released LPs, Penn has been responsible for the music in movies by Paul Thomas Anderson (Hard Eight, Boogie Nights) and actor Alan Cummings (The Wedding Party, Suffering Man’s Charity). Now comes his work on the indie effort Sunshine Cleaning. Sharing the soundtrack with a group of neo-novel navel-gazing tracks that tend to mimic the movie’s moxie and sense of spirit, Penn delivers a likeable collection that takes its own sweet sonic time before settling it to assuage your soul.

If you liked plucked acoustic guitars, ethereal strings and keyboards, and a symphonic style that sounds like Carter Burwell channeling a college alt-rock station, you’ll adore Michael Penn’s ambient score for the recent indie quirk fest. The story of ladies working as crime scene clean-up “specialists” demands an equally idiosyncratic soundtrack, and the former hitmaker (with some help from Golden Smog, Ken Andrews, Electrelane, Bodega, Ernie Miller, and David Majzlin) turns in a lovely set of aural signatures. Each individual beat, from the laconic limits of “CB Radio and Resolve” to the buoyant beauty of “Some Ice Cream” defy easy description. More like tone poems than actual tunes, Penn plays around with character and time signatures to keep us off balance and emotionally connected. Standouts include the moving “Trestling”, the atmospheric “Trailer Park”, the personal themes for “Joe and Oscar” and “Rose and Mac”, and the terrifically tender “Mrs. Davis”. If there is one weak link, a moment so unnecessary it almost sinks the entire project, it’s the inclusion of the superfluous ‘70s stalwart “Spirit in the Sky”. Penn creates his own spirituality. We didn’t need this novelty bit of Bible thumping to amplify Cleaning‘s cosmic aura.

 

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