Call for Essays About Any Aspect of Popular Culture, Present or Past

Bookmark and Share
Text:AAA
Monday, May 12, 2008

I can only hope that the author of this recipe blog continues posting. Without it, I would have never learned that “brownies are one of the truest manifestations of metal in the scope of baking. Nestled inside their dark, viscous hearts lies a sickening world of decadence.” Or that “boiled down to its very essence, metal is nothing more than a mixture of molasses and alienation.” And there is so much more to learn about the dark confections. (via boing boing)


Bookmark and Share
Text:AAA
Sunday, May 11, 2008
David Lynch is very much like God. I watch his movies the way I look at the creation of the world: most of the time I can’t claim to discern what’s going on, but someone seems to have gone to a great deal of trouble.

There are some movies that require a certain commitment of time to figure out what is going on. David Lynch’s movies, I’ve become convinced, are about trying to figure out what’s going on. And that’s fine, as far as it goes. In its art-for-art’s sake, uber-pretentious, anti-commercial, anti-audience sensibility, Lynch hoists a freak flag that is, upon closer inspection, a fuck you flag. The question, as it is with all challenging art, ultimately must be: is it worth it? His films are odd and unsettling, and they are often unlike anything you’ve ever seen before. And yet: is that enough?


Well…take any of his films, then take away the attractive female characters, their inexorable (contractual?) nudity, and the handful of very brief—but very brilliant—scenes, and Lynch’s work seems to be a series of somethings that seek to defy being identified for what they look and smell like. You are left with an oeuvre that seems to separate viewers into three camps: the good (those who claim to “get it”), the bad (those who don’t, or can’t), and the ugly (or, the angry; those who tried to get it, failed, and then, upon repeat viewings, determine that they are unworthy and, most importantly, uninterested).


Consider me ugly. Not angry, but certainly perplexed at the consistent, and reflexive, critical accolades. And let’s acknowledge the fact that Lynch does not merely have fans, he has advocates. Defenders of the faith. Crusaders. As a proponent of acquired taste anomalies running the gamut of high and low culture and all points in between (especially the points in between), I appreciate the allure, and I don’t begrudge it. What I am curious about is, who are these people, and what is it they actually see in these films?


Tagged as: david lynch
Bookmark and Share
Text:AAA
Friday, May 9, 2008
by PopMatters Staff
Multi-instrumentalist and respected bluesman, re-imagines the banjo on his latest work, Recapturing the Banjo, released in February on Telarc Records. Collaborating with the likes of Guy Davis, Corey Harris, Alvin Youngblood Hart, Keb’ Mo’ and Don Vappie, Recapturing the Banjo got an 8 from PopMatters back in March. Our very own Lou Friedman said: "Otis Taylor is the only "modern day" bluesman who can make the blues sound primitive without being phony or contrived. And it really doesn’t matter what weapon he’s using to fire his musical provocations. In this case, he’s chosen a banjo as the primary cannon from his arsenal. Something way better than Recapturing the Banjo is going to have to come along to knock this off the pedestal as the best blues release of 2008.

1. The latest book or movie that made you cry?
When I was six years old I cried at Old Yeller and then I never cried at another movie again. 


2. The fictional character most like you?
The black guy in Gladiator (I think his name was Juba), he was loyal and had a family, as well. He was always trying to get back home which I feel like I am doing every time I leave my family.


3. The greatest album, ever?
Take Five by Dave Brubeck.


4. Star Trek or Star Wars?
Star Trek definitely, Spock is the man!


5. Your ideal brain food?
For me, waking up each day and really experiencing life, the colors, smells, sounds is what stimulates me. Each day is different.


Bookmark and Share
Text:AAA
Tuesday, May 6, 2008
If Jack Tripper was running for president, which candidate would you rather have a beer with at The Regal Beagle?

The last thing I want to be accused of is venerating the same sitcom that, it seemed, virtually everyone who was not a teenager in the late ‘70s and early ‘80s felt certain signaled the end of the world as we knew it. But we felt fine. Hey, I lived through those dangerous days and survived. I watched Three’s Company and not only enjoyed it, then, I certainly don’t regret it, now. I regard that show kind of like I view my Catholic upbringing: it was probably not necessary and it’s likely that those hours (in church, in front of the TV) could have been better spent. But, for better or worse, they helped make me what I am, so I’ll make no tardy attempts to excommunicate Cardinal O’Connor or Jack Tripper from my memory bank. In this much-maligned shows defense, and unlike the Catholic church, it never pretended to be something it was not: an enterprise that puts profit above product and always answerable to a higher authority.


Not sure, in hindsight, if Father So-and-So’s sermons gave me more nightmares than Joyce DeWitt’s curious allure, or who was the worse actor—my divorced CCD teacher or Suzanne Somers (I’m pretty sure Somers wins purely on aesthetic points). We can point to Don Knotts’s (R.I.P.) floral crimes against fashion, but at least he was a product of the times, unlike the enduring sartorial styles still in vogue at the Vatican. And let’s get real: if Jack Tripper (R.I.P.!!) were, well, real, and he was running for president, which candidate would you rather have a beer with at The Regal Beagle?


But special props must be set aside for the immortal (yes, I said immortal) Norman Fell (R.I.P.!!!). If there was ever a “sixth man” award for TV shows, Mr. Roper would be a lock. In fact, it should henceforth be known as “The Norman Fell Factor” when a minor—but indispensable—character is given props by fans in the know. His sardonic asides to the camera were revolutionary in their own understated way; breaking the fourth wall to make inside jokes with the audience, edging toward something approximating postmodern long before, say, movies like Ferris Bueller or subsequent TV shows like Moonlighting made it an almost obligatory—and far less subtle—device. Of course, this strategy already existed on TV, dating as far back as stories have been told to audiences, and are recurrent in Cervantes, Shakespeare and Sterne, not to mention Melville (call him Ishmael) and the late, great Kurt Vonnegut. In other words, Fell was neither the first nor the most effective practitioner of this tactic—he was simply one of the funniest. In his relatively quick moments on screen, he could throw the audience, and himself, a bone each week—his antics would not have been nearly as amusing if his role were larger.


Maybe it’s a guy thing. Check that: did any women ever watch Three’s Company? Stanley Roper’s self-satisfied mugging was a highlight of each episode, and while the mere name Ralph Furley prompts a chuckle, by the time that bug-eyed, pants suit wearing rascal came on the scene, the shows best days were behind it (bet: that is the first time the words “the shows best days” have ever appeared in any appraisal of Three’s Company). And don’t kid yourself: I’m not about to forget our favorite used car salesman, Larry Dallas. Larry was more than just Eddie Haskell grown up and acid-tested; in many ways he anticipated both George Costanza and Cosmo Kramer (in other words, he was the original poor man’s Larry David). Okay, that’s stretching it, but one thing is for certain: while the Ropers got their chance to grasp the brass ring, the biggest crime Three’s Company ever committed was not spinning off Larry’s character for his own series. Just kidding. Sort of.


Bookmark and Share
Text:AAA
Sunday, May 4, 2008
Yet the biggest question that lingers after seeing Justice's "Stress" video is simply this: what's the point?

Justice’s last two music videos—“D.A.N.C.E.” and “DVNO”—were graphic, fun-filled affairs that were visually engaging, culturally satirical, and just damn fun to watch. With “Stress”, however, the group winds up taking a turn for something much darker.


As you stream it below, you see something that’s very primal and very unpleasant: act after act of mindless, pointless violence. Romain Garvis’ clip features a gang of young hoodlums (all donning jackets with the Justice “cross” logo on it) going about town and destroying bars, throwing tourists cameras away, smashing street performers guitars, hijacking a car and much, much more. It will never get play on MTV, and its violence is tough to swallow: even the one shot at this gang’s come-uppance is foiled after the kids break off from a security guard sneak attack, leaving just one guard to try and stop them ... only to find himself on the floor being kicked repeatedly.


The video ends with the kids torching the car they stole, some of the flame even landing on the videos boom mic operator. They don’t even acknowledge his pain: they soon turn to the camera man, spit on his lense, and after what appears to be a brief struggle, everything turns to black.


Yet the biggest question that lingers after is simply this: what’s the point?


It’s doubtful that a video as well-crafted as this was done simply to provide an unfunny version of Jackass. Instead, given that Justice originated from France, this video could perhaps be seen as an expression of the outrage that the French youth felt during their tumultuous riots a few years back, the ones that shocked and outraged a nation: politicians calling said rioters “scum” and the youth of France returning the sentiment in kind by destorying millions upon millions of dollars worth of property. The “Stress” video could be seen as the youth having bottled up rage, societal resentment brewing in their blood ... and yet not having a single outlet of which to pour their energy. So, the kids in this video take to vandalism, crime, asserting their authority in any/all contexts possible, lapping up their camera-captured spotlight before, ultimately, turning on those who are documenting their accomplishments. Is the implication that such unfocused, unbridled rage will ultimately collapse in on itself, leading to one’s own destruction instead of on exterior, worldly things?


It’s hard to say, and this video does not provide any easy answers. It’s a polarizing clip, but it only goes to show that art of any kind—yes, even big-beat techno—can ignite a serious, pointed discussion.


(Oh, and yeah ... it’s also a great song to boot).


Tagged as: justice
Now on PopMatters
PM Picks
Announcements

© 1999-2014 PopMatters.com. All rights reserved.
PopMatters.com™ and PopMatters™ are trademarks
of PopMatters Media, Inc.

PopMatters is wholly independently owned and operated.