Showing posts with label Passing Fads. Show all posts
Showing posts with label Passing Fads. Show all posts

Friday, July 29, 2011

Thoughts of an Aspiring Music Snob:
Week 117 - Queen, and the Conclusion

Chris has been trying to compensate for his lack of musical knowledge by immersing himself in one new artist each week. At the end of the week, he would write up a brief summary of his opinions. You can read about the origin and parameters of this project here.

The final installment requires a bit of reflection. I'll try not to be too self-indulgent, but I am listening to Queen this week, so that might be difficult. 

It is with sadness and a tad bit of relief that I'm ending this written feature after nearly two years' worth of writing about new music (well, new to me, anyway). But it's also with not a small amount of pride; I've managed to go above and beyond the original point of this project, which was to teach myself a little bit about popular music. This is not to say that I'm a music snob yet, but I'm ready to advance to the next level. An "intermediate music snob" perhaps. 

When I started this project, it was to acquaint me with some of the bigger names in popular music and start to piece together its history. After 117 weeks and some change, the project has evolved to the point where I'm able to look into more niche genres and lesser-known acts, and start to connect the dots myself. I'd still hesitate to even begin to call myself an expert, but I realized when I could easily place Faust within the context of post-war German avant-garde music, or the Pretenders within the context of the post-punk era that gave way to 80s "alternative" rock, I was not really a neophyte any longer. 

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Sunday, July 17, 2011

Sunday Reading: A Prank Customer Letter

letter-writingIn the generational shift from letters to email, I fear we’ve lost something. It’s not the care with which one chooses words while writing in ink. It’s not the intimacy of sending someone a physical manifestation of your feelings, be they love, anger, worry, etc.

We’ve lost a good deal of pranking.

Think about it. Pranks rely on anonymity, something social networking and modern email etiquette have slowly eroded. Anything you don’t recognize immediately gets sent to your Spam folder before being deleted.

You have to physically deal with a letter. Sure, you can throw it away afterwards, but it’s likely that you’ll at least tear open the envelope, read the handwritten or typed text, and then discover that someone was playing a joke on you.

Just check out some of this letter from R.J. Bumpass, sent to the Blum Manufacturing Company, a cowbell producer, in 1957.

“By golly everything has happened to me expect a spudnixt falling on me. Several evenings, couple weeks back was flagged by some indians, were broke down. Did not get to bed untill 2:00 or 3:00 o’clock. As far as I am concerned, people better be where they are headed that time of day, I am not stopping.”

This is either the rant of a crazy person looking to buy more cowbells, or it is a well-crafted prank letter sent for the amusement of the Blum Company. You can read the rest of the letter here. Meanwhile, I’m off to locate a functioning Underwood. I’ve got some letters to write.

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Sunday, May 15, 2011

Sunday Reading: Cool Story, Bro

At the risk of eliciting a hearty “tl;dr” in the comments, I will be brief in relaying this Slate article to you.

If you’re up on your memes, you may be familiar with this picture:

cool story bro

“Cool story, bro” has breathed new life into this unnerving depiction of Hercules by Clayton Henry. Long article, completely straight-faced stories in desperate need of undercutting, statements so obvious as to warrant mockery: all are subject to the sarcastic dismissal that accompanies this cheery Herc.

Slate’s Michael Agger did some Internet digging to uncover this meme’s origin. He cites Know Your Meme, which credits “Cool story, bro” to either the “Youtube poop community” (!) or 4chan. I suppose you can this up yourself, but what’s worth reading is Agger’s analysis of the meme’s mutations.

Like most memes, it began life as an offshoot of something else – the aforementioned “tl;dr” – which is Internet slang for “Get to the point!”  It then morphed into a formidable weapon for troll-slaying. Nothing hurts an incendiary commenter more than being dismissed. What’s funniest to me, however, is how the meme has since folded back in on itself. Agger writes:

“Lately, yet another meaning has become attached to "Cool story, bro:" a nonironic acknowledgement that someone in fact has written a cool story.”

In our current age of planned, conformist irony, what’s more ironic than being sincere?

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Tuesday, April 19, 2011

Wow, that's meta: how Scre4m made the Movies self-aware

I remember when I first heard the term "meta-text." It was in my English class, junior year of high school. We were analyzing Turn of the Screw or Heart of Darkness or something, and the conversation turned to how the content was self-reflexive. Both are stories about telling stories, whose plots revolve around the same literary conventions used by the author when crafting the novel itself. This technique makes the readers hyper-aware of what's happening in the story while also explaining why it works as a story.

I was immediately hooked by the meta-tradition, finding it both edifying and entertaining. I gravitated towards meta-works, writing my final paper on Andre Gide's The Counterfeiters (a story about a man in the process of writing a novel entitled "The Counterfeiters"), and studying movies such as Charlie Kaufman-penned Adaptation and Federico Fellini's 8 1/2 (both movies about making movies). It wasn't long before meta became a term thrown around by hipsters and pseudo-intellectuals alike to describe anything that was even vaguely self-referential.

But only now with Wes Craven's Scre4m (pronounced scree-FOR-um, according to the posters) has meta-culture entered into the truly public sphere. The characters in Scre4m take meta-awareness to the next level: not only is there constant banter about how their lives follow the conventions of a horror film, but they also make comments about their awareness of their awareness... before getting stabbed in the most predictable ways regardless. Does Scre4m take things too far? How many levels of meta can there be before a work folds in upon itself to oblivion? How deep does the reflextive rabbit hole go?


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Tuesday, January 18, 2011

This is the Dawning of the Age of ... Capricorn???

Ophiuchus, the serpent-bearer
Have you ever read your horoscope in hopes of gaining some supernatural preparation for what the future holds? Or have you ever looked at a breakdown of your astrological sign, latching on to all the vague tidbits that accurately represent your personality type (or rather the personality type you wish you had), and conveniently ignoring the ones that aren't so insightful? If you answered yes to either of these questions, then you might have already heard that the astrological sign you always used to define yourself could be wrong.

Last Monday, the Minneapolis Star Tribune reported a claim made by astronomer Parke Kunkle that, thanks to a gravitational shift, the Earth is no longer aligned with the zodiac signs the way it used to be. That means that on your next birthday the sun (or moon or whatever) might not be "in" the same constellation it was in on the day you were born. The news took a few days to go viral over the Tweeters, and the Diggits, and the FaceUnions, and it's been a few more days until my scheduled post where I can tell you all about it.

Many astrology buffs have reacted with feelings ranging from annoyance to rage at finding out that their favorite pseudo-science has suddenly proved unreliable. And I can't say I blame them. I didn't read my horoscope before the big change, and I don't plan to now. But do I have to start identifying myself with a whole new portion of the population? And what's with this crazy 13th sign, Ophiuchus? And Scorpio only lasts a week now!? There's plenty to read about after the jump.


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Tuesday, January 11, 2011

Fist-Pumping All Over Again...

Remember last year between August and October? For me, it was all a blur of fake tans, rippling muscles, and drunks falling all over themselves trying to put on a show for the camera. Because for those three glorious months, I reviewed every single episode of the second season of MTV's The Jersey Shore. I was so engrossed in that world that it wasn't at all out of the ordinary to hear me burst into song about T-Shirt Time or exclaim for all the world to hear that the "Cabs ah heah!" So imagine my surprise when I heard that Season 3 of SallyAnn Salsano's megahit premiered to record numbers, and I didn't even notice!

I know, I know, for someone who works in the reality television field, I'm hopelessly (blissfully?) unaware of what's going on in the industry. It was mostly by accident that I stumbled upon the first season of Jersey Shore and a pure act of will to stick with my "Fist-Pump Gazette" feature for an entire season. I mean, after my experience watching Season 2 cover to cover, I've had enough guidos and guidettes to last a lifetime. But when I heard that episode 301 was MTV's highest rated broadcast EVER, I decided I had to check it out via the magic of MTV.com.

What did I discover? Hit the jump to find out.

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Friday, December 31, 2010

2010: The Year in Music


Years are such an arbitrary way to bracket our discussion of pop culture. Sure, lots of stuff happens in 12 months, and that's certainly a substantial enough time period to allow you to discuss trends, movements, and other stuff that takes more than a few weeks to unfold. But lots of stuff happens in 11 months or 13 months or maybe even in a month. And unlike the movie industry, which has the Oscars to shape its release schedule, popular music lacks any real kind of ceremony to dictate when artists or labels should release their albums (the Grammys simply do not count).

But, unfortunately for the chronologically contrarian, years are pretty much all we've got. After all, it's much easier for everyone to have a conversation about a given period of time in culture if they agree on what that time period is. And isn't the conversation really what these year-end retrospectives are all about?

So, let's talk about what happened this year: the good, the bad, and, um, the Ke$ha*.
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Monday, December 27, 2010

2010: The Year In Movies

Cinema, unlike almost any other art form known to man, is immediate in its story telling. We see and hear (and in John Waters' case, smell) movies in a communal way completely dissimilar from any other epoch in humanity's short time on this island Earth. Sitting in a theater and watching a film is an experience that can never be replicated by home video, and as long as there are stories to be told, there will be asses in seats. The perfect marriage of brows high and low, cinema is the medium of our age.

In addition to all of these reasons, I love cinema because of how it reflects the human condition. Every year  we are regaled with more and more stories about homo sapiens' capacity for altruistic good while at the same time we also bear witness to how man does violence to his fellow man.

In a similar vein, every year we are given some really spectacular films: modern classics. Buuuuuutttt...we are also presented with a bunch of crap. The Year of Our Lord Two Thousand and Ten was no different. What shall follow here is a brief roundup, nay, a summarization of the year that we had in film. This is all of course based almost entirely on what I in my limited economic and scheduling means was able to see and also somewhat on hearsay, because, hey, why not?
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Sunday, November 21, 2010

Sunday Reading: The Hipster in the Mirror

HipsterThe hipster.  Is there a more universally-derided yet barely definable term? It’s easy to say, “Oh you wear oversized glasses and skinny jeans, so you’re a hipster” or “Get your six-pack of PBR and your Sufjan vinyls off my porch, hipster!”  But are these people automatically hipsters?  Or is it a self-fulfilling thing?  Are hipsters only hipsters because we dub them so?

And why do we take the time and effort to label them as such?  Why do we scoff at their style, their music, their beards?  It’s their taste versus yours.  Should it really provoke such ire?

Mark Greif recently posed these questions in a New York Times essay entitled “The Hipster in the Mirror.”  What excited Greif more than the actual responses to a survey conducted about hipster was the trepidation and anxiety with which people participated at all:

“When we announced a public debate on hipsterism, I received e-mail messages both furious and plaintive. Normally inquisitive people protested that there could be no answer and no definition. Maybe hipsters didn’t exist! The responses were more impassioned than those we’d had in our discussions on health care, young conservatives and feminism. And perfectly blameless individuals began flagellating themselves: ‘Am I a hipster?’”

He sees the hipster rage as a sort of territorial battle, flamed by various socioeconomic conditions and perceptions similar to those outlined in Pierre Bourdieu’s 1979 book Distinction: A Social Critique of the Judgement of Taste.  Greif claims that “Bourdieu’s innovation, applicable here, was to look beyond the traditional trappings of rich or poor to see battles of symbols (like [hipster] boots and hats) traversing all society, reinforcing the class structure just as money did.”

Bourdieu’s deconstruction of twentieth-century French tastes and stereotypes aligns pretty well with the current “What’s the deal with hipsters?” conversation.  But why does the conversation exist at all?  Writes Greif: “The attempt to analyze the hipster provokes such universal anxiety because it calls everyone’s bluff.”

I hate it when people force me to confront flaws in my worldview.  I hate it because they’re usually right.

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Tuesday, November 16, 2010

I'm Getting Awful Sick of These "Personal Appeals"

Have you visited Wikipedia lately? Chances are, if you're a college student searching for infallible information to cite on your term paper, a concerned citizen looking to beef up on world news, or just a curious American interested in reading up on Frank Zappa's favorite rock guitarist, your answer to my first question is a resounding "Yes!"

And if you answered "Yes!" to the above question, you're sure to have noticed a rather unsightly and intrusive banner link across the top of ANY Wikipedia page you might have visited. It's a link to an impassioned plea from some anonymous dude to donate money to his crackpot enterprise.

When we encounter a similar request from someone on a street corner, we refer to that person as a "bum" or a "pandhandler" or someone recently disenfranchised by San Francisco's Proposition L. When we encounter this request from someone on the internet, we refer to that person as an entrepreneur. Discuss...



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Wednesday, August 11, 2010

Breaking Up With BlackBerry

244024987_2861c1c4d5 I bought a BlackBerry in 2007, right around the time people started using the term “smartphone” to describe cellular devices that let you call your girlfriend, respond to emails and check the Giants score while waiting for the baggage carousel to spit out your suitcase. Before this, the popular term of art was simply “BlackBerry;” I bought the Pearl, a slimmer version of the classic Curve with a tiny glowing trackball for menu navigation.

Three years later, I’m determined to never buy another BlackBerry. I’m not alone – a recent Nielsen survey shows only 42 percent of current users say they would buy another BlackBerry. Presumably, the other 68 percent would rather buy Apple’s iPhone or Motorola’s Droid instead.

BlackBerry was the first smartphone, but it’s long since ceased to be the best. It’s been an underwhelming piece of hardware all along, turns out, frustrating its all-too-trusting users who wanted to see what “this BlackBerry thing” was all about.

Me, specifically.

The Rise

Remember pagers? The first BlackBerry, released in 1999, was an ugly two-way pager with a QWERTY keyboard and monochrome LCD screen. The smartphone, released in 2002, was a pear-shaped device with a thumbs-only keyboard and a color screen. Unlike the Palm Treo, you could type on a BlackBerry without wanting to kill yourself. You didn’t need to jab about with a stylus, either – all navigation was performed with a scroll wheel.

The first BlackBerrys stuck to the basics: email, text messaging and phone calls. The device was quickly adopted by government and corporate types – you know, the kinds who start twitching if they don’t get an email or text every five minutes – because of its efficient and secure email. Instead of reaching out to periodically poll a provider like Gmail, the phone “pushed” emails, routing them through servers owned by parent company Research In Motion (RIM).

Before I rip the phone apart, it’s important to know that BlackBerrys are, and will likely remain, popular among said government and corporate types. When a copyright infringement suit against RIM slogged on too long, the U.S. Department of Justice filed a brief asking that RIM be allowed to continue its services – too many federal employees depended on BlackBerrys to communicate internally.

For snappy emailing, the BlackBerry was the best game in town. Until the first iPhone dropped in 2007, it was practically the only game in town. Not wanting to buy into AT&T’s infamously poor coverage (or spend many hundreds of dollars on an iPhone), I bought a BlackBerry Pearl. Peeling off the protective plastic, I thought: The future is now.

The disappointment wasn’t much later.

Rob vs. Pearl; or, Malice Mode

As a college senior, I took an optimistic assessment of my needs: In my coming professional life, I would need to be reachable at all times. I would need to be able to access a map of, say, San Francisco, Calif. at a moment’s notice. I would need to be capable of reading Thomas Friedman’s latest editorial while bored on the toilet.

The Pearl could do all of these things (and if Friedman wasn’t to taste, there was always Brickbreaker). Configuring email was a cinch. Within hours, I was snapping 1.8 megapixel pictures of my dinner and shooting to a friend across the country. Or trying to – on highest detail settings, the images were too big to flit through the Multimedia Message Service. I had to figure that out myself.

As the months wore on, the Pearl’s resume of troubling habits grew steadily. Chief among them was a tendency to randomly wipe my recent calls, unsaved emails and text messages. In what I dubbed Malice Mode, the phone would also delete any incoming messages before I could be alerted. The only solution was performing a hard restart, which involves removing the battery, putting it back in and texting myself to make sure the phone did what it was supposed to do (goddamnit).

My first Pearl met its demise after falling from my pocket – I think I was impersonating a butterfly at the time, so I’ll shoulder the blame. I was happy to get a new Pearl, perhaps one with fewer idiosyncrasies.

It lasted a week before slipping into Malice Mode. I figured I was cursed.

Then the seal on the screen broke. Dust motes and fibers slipped under the plastic panel, and within a week, the phone looked grimy and disgusting. I once made the mistake of answering a call after a workout. Now my sweat is permanently trapped under my screen like plasma on a slide.

It’s entirely possible my nasty screen is a singular event. But every BlackBerry user has suffered the same, clunky software I’ve contended with for years. The phones have always been underpowered –while current Droid models ship with a 1 gigahertz CPU, current BlackBerrys come neutered with a 624 megahertz chip. But the counterintuitive operating system was always better at drowning users in nested menus than it was at helping them, you know, use their expensive smartphone.

The words “Say a command” are all too familiar to any longtime BlackBerry user – they’re heard anytime the voice dialing button is accidently pressed, which is all the time, should you forget to lock your keypad. Fidget during a meeting? “Say a command.”

An infuriating interface hindered the BlackBerry’s most competent feature – email. The texting program allowed you to edit words, scrolling backwards to change a letter. This was important when forming unrecognized compound words like “dickbag” or “asshole.” When it came to email addresses – few of which, if any, pop up in the dictionary – the option to edit words on-the-fly is inexplicably gone. If you want to turn “ahellthirl13” into “shellygirl13,” you’ll do it letter by letter, deleting tediously until “a” is an “s,” “t” is a “y” and so on.

It’s the digital equivalent of water torture. I don’t expect my smartphone to read my mind, but I expect it to not sabotage the simple act of writing an email – which, remember, is supposed to be the BlackBerry’s vindicating feature.

The Fall?

The sky appears to be falling for RIM. Even after stocks recovered from a multi-billion dollar loss – an entire country threatening to ban your phone over security issues will do something to your Wall Street value, apparently – the future doesn’t look bright and shiny for the BlackBerry. After the spectacular failure of the Storm, a would-be iPhone killer that my brother refused to donate to charity because he “wouldn’t want to inflict it on anyone else,” the BlackBerry is quickly losing its once-monstrous market share. The Torch, released last week, was received by tech reviewers with a great big “meh.”

The operating system was still clumsy. The browser still sucked. The screen was still grainy and low-resolution when compared to competitors. The brand which so badly needed a shot in the arm got a limp high-five instead.

Even if BlackBerrys remain popular among the chronically corporate, I’m afraid the rest of us have already left the brand to die. So long, Blackberry. It was fun – when it didn’t completely suck.

 

Image courtesy of shmula.com

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Tuesday, August 10, 2010

What Generation Do I Identify With?


Did you ever have the feeling that you were born in the wrong era? You see a picture of someone wearing a sweet bowler hat and twirling a gold-tipped cane and wish you could live back in the mid-19th century? Can't get enough of short skirts, bobbed hair, and jazz music? Then you probably would be happy hanging out in the roaring twenties. Or maybe legwarmers and obnoxiously chewing gum is your thing - then I'm sure you yearn for the good old '80s.

Generational gaps are funny things. There's no exact science for pinpointing a divide, but when two people from different generations interact with one another, they sure can tell the difference. Missed references, discrepancies in technological skills, and an all around different feel of life from growing up in two distinct cultural environments.

In terms of culture, one aspect that goes into defining a generation is contemporary music. For example, anyone who was a teenager in the early 1960s immediately has a shared cultural frame of reference thanks to music: Beatlemania. The Fab Four's influence was so far-reaching that defined the lives of a whole generation of people born in the mid-to-late-1940s. No other generation can experience the music of the Beatles quite the same way.

However, I have been experimenting with a way to determine which generations I identify with (musically, at least) by focusing on the age in which I first encountered a particular piece/group/style of music. With a little research, I believe others can find this experience just as gratifying as I did. Read on to see what I found.

I thought of this recently when writing about Muse. After I became obsessed with their album Absolution, I thought how my life might have been different if I had discovered the album when it hit the U.S. in 2004. At the time I was just months away from turning 18. As it happened in actual history, I was age 23 when I first heard the album.

Rather than wondering what my life would have been like had events turned out differently, I began to think about who else had an experience with Muse similar to mine. After a little math, I was able to deduce that other Americans who were 23 when Absolution was released had to have been born in 1981. While 29 is not a big difference from 24, the age difference does give me an insight into the types of people who were having the new Muse experience at the same age as I was.

Let's check out another formative album from my past: Are You Experienced by the Jimi Hendrix Experience. I bought this album in the summer of 2001, at age 14. Seeing as the album was released in 1967, that would put the date of birth of my generational peers at 1953. Those people are 48 years old now. So even though they grew up with vinyl and I grew up with CDs and mp3s, they grew up with typewriters and I grew up with Apple IIs, we can always connect with that shared experience of having heard "Purple Haze" for the first time at 15 years old.

For another example, I began what would become a long and fruitful relationship with the band Rush when I first encountered the song "Fly By Night" in a Dungeons & Dragons parody video. That was in 2003, when I was a junior in high school at age 17. (You can see I was discovering a lot of cool new music at this time of my life.) Since the song was originally released in 1975, the math equals out to people who were born in 1957. A little younger than my Jimi Hendrix peers, but not much.

When the people of these generations were in my current age bracket, the year would have been somewhere between 1977 and 1981. Thus people who grew up with Hendrix would have been just about my age for Jimmy Carter's pardon of the Vietnam War evaders, The Clash's debut album, and the theatrical release of Star Wars. Likewise when those who found Rush the same time I did reached my current age, they would marvel at the Miracle on Ice, grieve for the death of Led Zeppelin's John Bonham... and stand on line for the release of Empire Strikes Back.

If I continued this exercise indefinitely - or, at least, as far as my memory will allow - I could average out the ages of my generational peers, and figure out with which eras I most strongly identify - again, at least musically. I could continue with movies and books as well, creating a complete picture of my virtual generation, as calculated by cultural discovery. And what's more, you can all do it too!

What such a picture would actually teach us about ourselves remains yet to be seen. And as I currently have no time or energy for such a venture, it's going to have to wait for quite some time.
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Saturday, August 7, 2010

The Fist-Pump Gazette #2: "I Love You So F*cking Much, And That's My Downfall"


*Previously on Jersey Shore:

PREMISE: We're in Florida this season instead of Jersey, bitches!

B-STORY: Angelina was there! "I thought I saw a ghost" -Pauly D. Catfights to come.

A-STORY: Sammi and Ronnie used to be in a relationship... and now they have to live together!
They announced they were "done" at the Reunion show, but no one seems to know why, and it's not clear whether they are still pining for each other.
(Either Sammi and Ronnie decided to start producing their own show and wrote themselves what will clearly be a break-up-make-up storyline. Or maybe they were just following the storylines composed by the producers - but pretended it was their own decision all along.)
Beautiful juxtaposition of a shot of Sammi falling asleep, alone, her sunglasses still perched atop her head, with a newly-single Ronnie engaging in a triple-kiss. Again, the description is best left to Pauly D: "I love Single Ronnie!"


Here's the episode where we actually get to see what goes on day-to-day at the "Jersey Shore takes Miami" experience. In Season 1, everyone's presence at the house, with free room and board, was explained through each of them having a job at a T-shirt shop on the boardwalk. It wasn't that anyone took it all that seriously, but it served as a condition of the show - if you want to stay in this sweet house, having sweet free parties every night, and having to deal with MTV cameras every minute of your life, you have to work in this T-Shirt shop during the day. Part of the "reason" Angelina "chose" to leave the show was that she got "fired" by the T-Shirt store boss (read: Executive VP Production at MTV) for "refusing" to go to work.

Are they going to have a similar condition for Season 2? Or has the network stopped trying to provide any further explanation for the show happening, beyond the facts that we love to watch it and they love to profit from it?

But wait! Last night's party still isn't over! Remember that in real life, a week has passed since the last show. But for the folks on the Shore, we pick up right where we left off.

In the interest of advancing the A-Story, Ronnie decided to drunkenly pass out in Sammi's bed. He subsequently proclaimed his love for her. Then he tried to pass it off as if he didn't remember anything in the morning. Will she buy it? Will she care?

This brings up a procedural issue: how can Ronnie deny what went on last night when every minute of it was captured on camera? She'll obviously find out after the show aired. And what's more, she'll find out that he was hiding it from her.

Before we can really think about that stuff, Snooki provides some comic relief, clumsily ruining tonight's dinner. In other news, the bathroom door is totally see-thru, and Season 2 is about to become a peep-show.

In B-Story news, Angelina talks on the phone all the time, and everyone still hates her. Snooki gives us a lesson in Virtue Ethics by confronting Angelina about "talking sh*t" about her friends behind her back. And JWOWW delivers a threat of her own: "You stay, you get your f*cking ass beat!" I hope Angelina's attorney didn't let her sign any kind of release, because this could get ugly. Girls tend to get hurt on this show.

Ronnie's mission to "deny, deny, deny" hits a snag when all the other guys gossip about him to all the other girls. Later in the show, Ronnie attempts a full-steam make-up conversation and delivers the title line of this week's Gazette. His big finish is some pretty sage advice: "If we f*cking love each other, then we f*cking love each other, and that's it. You work on your f*cking problems, and you f*cking grow from it. If you can't f*cking grow from it, then we can't be together." Sage advice that sounded like it came from the mouth of a sailor... but sage advice nonetheless.

But before you have a chance to hate yourself for actually getting into the story of these goofballs, everyone's off to work. In a gelato shop! So there's that question answered. They must have pretty flexible hours. Cuz they're still gonna party all the time. How else could Angelina get so drunk that she pushes Pauly D over the edge?

A huge surprise, I know, cast members of an MTV reality show getting drunk and hating each other. There's just something about this Angelina - whatever she does, she immediately gets on everyone's bad side. How much of that is her personality and how much is her character she's created for the show is unclear. And it's also unclear how much is on purpose and how much is unintentional. (Or at least it's unclear to me. Willing suspension of disbelief, I guess.)

The episode ends with Pauly declaring that his friendship with Angelina is history. She'd best watch her back in the episodes to come!

I wanted to find something to put here that ties all my observations together. Something meaningful about what went on this week, and how it relates to the big picture of Jersey Shore, and how that in turn relates to the Big Picture in general.

But there's nothing. Looking back on it, there's absolutely no reason to like this show. And by that I mean, no reasoning behind the fact that I do like it. And just as little reason in the fact that I can't turn away...
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Tuesday, August 3, 2010

The Fist-Pump Gazette #1: "I've Never Fist-Pumped a Day in my Life"


I must admit, I've never been a proponent of trashy reality shows. I'm not a big watcher of reality TV in general, whether informational shows (i.e. "Mythbusters"), competitions ("Survivor"), or heart-warming formatted documentaries ("Undercover Boss" - check out this promo for their BRAND NEW SEASON!). And it's not even that I'm biased and think they're ruining or "dumbing down" the medium - I think the last TV show I watched regularly on the air might have been "Batman: The Animated Series."

But there was something about the '90s - '00s MTV style reality fare that just kind of turned me off to the concept. "Real World" - let's put a bunch of whiners in a house together and watch them whine. "Road Rules" - ditto, but in a van. "The Hills" - check out these rich folks having fun in LA! "16 and Pregnant" - look at these people who made questionable life choices and see how they react when we shove cameras in their faces. I just didn't have the interest or the patience.

But then it happened. They hooked me. Eight lovable walking worst-stereotypes-imaginable worked their way into my heart with their drunken antics and absolutely ludicrous outlooks on life. And all of a sudden, I became a fan of "Jersey Shore."

As fondly as I remember the first season, I didn't watch it even close to regularly. I didn't come in until after Angelina had left the show (and was subsequently confused each time I kept seeing her intro card during the opening credits). It took me at least three episodes before I could distinguish between Ronnie and Pauly. But at some point - I can't tell if it was when "The Situation" explained the finer points of classifying someone as a "grenade" or when Snooki took a punch to the face like a champ - I realized I was having fun watching the show.

I don't particularly have a problem with the fact that they supposedly give Italian-Americans a bad name. These are people acting the way they choose to act - what does it matter to me what their heritage is? Sure, they act irresponsibly and they get into fights and they make fools out of themselves. But they don't take anything too seriously and they look like they're having a genuine good time with themselves. Which makes them genuinely fun to watch.

One thing the cast took seriously was their contract negotiations for season 2. After a messy holdout, in which each cast member netted $10,000 per episode, the next season got underway last Thursday... in Miami. That's right, the show named for a location will take place in a different location, due to a more cooperative climate and the network's unwillingness to shift the shoot dates.

The new location allowed for a fun first act of the season 2 premiere - having the cast make their way to the Miami location. Situation and Pauly D roadtripped together - they got their truck hopelessly stuck in the mud and shot off tons of fireworks while waiting for the Triple-A truck... which also got stuck in the mud. Snooki and Jenni also roadtripped together. During a pit stop in Georgia, they were approached by a local who gave a pathetically convulsive attempt at a Jersey fist-pump. (The title of this week's gazette comes from him.)

Upon arriving at the house, everyone was stunned to find that Angelina was back for season 2! Oh, snap! For someone like me, who didn't even rightly recognize Angelina, let alone remember any of last season's drama, the reveal was less than Earth-shattering. All that happened was that Snooki made a reference to her "Talking mad shit about me," and the rest of the girls on the show just shut down emotionally.

But the biggest plotline so far is the ex- relationship between Ronnie and Sammi. They got together during season 1, broke up in the interim, and are now living together again. Nobody really knows how they feel about each other, but when they (predictably) got into an argument during their first night on the town, Sammi ended up going home depressed, and Ronnie got drunk out of his mind and hooked up with tons of mad bitches at the club.

The episode ended with a hint of irony. Angelina mentions to Pauly D. how upset Sammi would be if she found out about Ronnie's behavior. To which Pauly responds, in full view of the camera, "She'll never know." Yeah, until the episode airs! I'm pretty sure he was being ironic, but then again I'm usually more willing than I should be to give people the benefit of the doubt.

Tune in next week to find out about all the illicit hookups, shoving matches, and catfights that were hinted at in the preview of coming episodes. I'll resume my scheduled Tuesday posts, with the Fist-Pump Gazette moving to Saturday afternoons.

Watch The Jersey Shore on MTV Network, Thursday nights at 9pm (last week's episode), 10pm (new episode), and 11pm (new episode again).
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Tuesday, July 13, 2010

Tuesday Memesday

If there is one feature of the natural world that has been overlooked lately, it's the rainbow. The rainbow differs from other natural objects such as trees, which can be seen/touched/experienced from a variety of different angles. A rainbow requires three elements to be in the exact right places in order to exist at all - the moisture in the air, the sun, and the observer. So in a sense, a rainbow is more than just something that happens during/after a rainfall - it's a collaborative effort that can't exist without someone there to take part.

Given the amazing properties of rainbows, it's no wonder that a vlogger called yosemitebear shows such excitement at the appearance of a truly majestic double rainbow. Please watch his reaction:




You can't deny that this guy is having one intense spiritual experience with that rainbow. When I first watched it, there were moments when I was about to laugh derisively at him, but those moments always dissolved into admiration - why not feel good about someone who's able to take such pleasure out of life's beautiful events?

When you google search "double rainbow yosemitebear," the first article that comes up is an ABC News piece entitled "'Double Rainbow' Guy Paul 'Yosemite Bear' Vazquez Was Sober...". Although I linked to the piece, I haven't read it. I feel no need to. What does it matter what was or wasn't in his system while he was documenting this experience? Whether or not it's true, the fact that he was sober or high or drunk or tripping all the balls tells me just about as much about him as the fact that he was (or wasn't) wearing jean shorts and a t-shirt while watching the rainbow. What's important is the genuine excitement and sense of wonder at the natural world.

Breezing through Paul Vazquez's youtube channel, one finds some pretty interesting stuff, including a bit of arhythmic tribal drumming, a total beatdown in a cage match, and an impassioned plea to the president involving something about the rights of American Indians. Seems like a passionate guy doing his own thing while documenting it for all to see.

But of course we couldn't call this a true meme without a third party coming into the mix and putting their own little spin on it. The third party in this case is the group of hipsteresque musicians behind the popular "auto-tune the news" series. They used their weapon of choice and transformed a spiritual outburst into a catchy pop melody. On the one hand, I feel like it's totally against the spirit of the original viewing of the legendary double rainbow. On the other hand, it's just such a cool and creative idea.

Heartfelt homage or mindless exploitation? YOU DECIDE!




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Wednesday, June 2, 2010

Passing Fads: Prog Rock


Embiggened by fellow shooter Chris Holden and the idea that a column should be more than, "Hey, here's what I was thinking about yesterday!", Jordasch has decided to embark on a journey through some of the less explicable trends in pop culture. To read the full introduction to "Passing Fads," click over to this thing.

Holy crap, did I like a whole lot of crap when I was more of a kid. Rap rock may have been the worst of my former musical beaus, but my taste only got slightly less inept when I moved from middle to high school. I traded overwrought alternative rock for overwrought emo, metalcore, and, most notably for our purposes here, progressive rock.

For a few years, noodly assholes like the Mars Volta, Muse, and Coheed & Cambria - I came to my senses before I discovered the old guys - filled my iPod with their nine-minute, string-quartet-featuring epics about aliens and possessed ten speed bikes (I shit you not). These were songs about important things that sounded really serious and stuff. Plus, they had absurdly unnecessary instrumental acrobatics, which sound cool to people who read guitar magazines. Suffice it to say, I grew up, discovered my internal pretension/bullshit radar, and now regard neo-prog with the same scorn that any self-respecting music snob should. What sounded important when I was in high school started to sound self-important as I neared my twenties.

But not all grown-ups are similarly prog-averse. Some adults, even some adults without ponytails, actually like prog rock. They proudly trumpet their allegiance to bands like Rush and Yes and try to argue that Styx always got a bad rap. Okay, maybe that was just Adam Sandler in Big Daddy. But even the stars of movies I don't hate seem to like prog. So what is it about this undeniably lame genre that makes seemingly cool people (both real and fake) fall head over heels? Because, let's be honest, there's nobody who dabbles in prog.

Rise to Power: Ironically conceived (and probably still intended) as a way to shoehorn some more "artistic credibility" into pop music, prog was first propagated wittingly by some really pretentious British dudes in the late 1960s. Other, equally pretentious British (and American) dudes made the first incursions into the general realm of progressive rock, though. Frank Zappa's Freak Out! and the Beatles' Sgt. Pepper are commonly cited as the most significant forebears to the genre. The form, if not the intent, was all there: vague conceptualism, reckless experimentation, lyrics that made no fucking sense. But these songs weren't long enough, the subjects matters not quite silly enough to qualify as real prog.

Top of the Pops: By the time the early '70s rolled around, progressive rock had taken its grubby fingers away from painting Warhammer miniatures and wrapped them around the proverbial throat of the musical zeitgeist. King Crimson's In the Court of the Crimson King, like most prog "masterpieces" drew praise from some and scorn from many others. The always acerbic, sometimes inscrutable Robert Christgau called it "ersatz shit", probably responding to Pete Townshend, who called it "an uncanny masterpiece." Regardless of the quality, Crimson King showcased the weird time signatures, odd instrumentation, and sci-fi politicking the genre became known for. Quintessential albums by Rush, Yes, Emerson, Lake & Palmer, Genesis, and Soft Machine exist on both continuums of lameness and relative quality (everything by Rush makes me want to die; I like the British Invasion undertones of Yes). Bands like Pink Floyd and Electric Light Orchestra, on the other hand, managed to wed proggy excesses to more commercially-friendly templates (blues rock and the Beatles, respectively).

Non English-speakers, too, refused to be deprived of the instrumental heroism and opposite-sex-alienating qualities of prog. Scenes in France (Magma, Gong), Germany (Krautrock stalwarts Neu! and Can), and Italy (Goblin, New Trolls) showed off progressive rock's ability to transcend language and culture.

Fall from Grace: 1974 was sort of a catastrophic year for prog. Scene founders Yes, ELP, Genesis, and King Crimson all either called it quits or underwent major personnel changes. Peter Gabriel left Genesis (thus improving his own career and destroying that of his former band's in one fell swoop), Robert Fripp disbanded King Crimson, Rick Wakeman left Yes, and Emerson, Lake & Palmer became...Emerson, Lake, and Palmer. The influx of no-bullshit/no-solos musical trends like punk and post-punk didn't help these dinosaurs stay relevant, either. Bands like Rush, Genesis, Queen, and Pink Floyd were left in the cold, dark wilderness of pop culture, forced to play sold-out arena shows and sell millions of records.

WHY, GOD, WHY: It's easy to understand the existence of hardcore prog fans. After all, people who LARP need something to cut off fake limbs to. But I've always found it difficult to fathom why those bands I mentioned above, especially the more explicitly proggy Rush, managed to sell all those millions. During my Wall phase in my freshman year of college, I remember marveling at how the same people who had made "Funkytown" a number one hit could enjoy an album that featured songs like "In the Flesh" and "The Trial" (sample lyric: The way you made them suffer/Your exquisite wife and mother/Fills me with the urge to defecate).

But Pink Floyd especially did write some undeniably catchy songs. The band's biggest album, Dark Side of the Moon, features three songs destined for radio ("Time," "Money," and, to a less extent, "Breathe") and six whacked-out instrumental/psychedelic excursions. The Wall is much heavier on strange stuff, but "The Happiest Days of Our Lives/Another Brick in the Wall Pt. 2" was massive and hooky enough to convince consumers to shell out for the double-length Wall. I think the runaway success of these albums is predominantly a consequence of the lack of options available to the music-buying public at that time. This was three decades before digital music stores were even a glimmer in Steve Jobs' eye, after all. You wanted the single, you bought the album.

It probably also evinces the public's occasional desire for escapism. The world's never been a friendly place, but listeners exasperated with Nixon, OPEC, and the Vietnam War were probably stoked to be able to put their head in the clouds for a hot second.

Back to the Future: As I alluded to in the "Fall" section, prog never really died. Yeah, some of its biggest bands broke up and experienced lineup changes, but those lineup changes actually served to make some of those bands even bigger. Relieved of Peter Gabriel's restless desire to not make shitty music, Genesis were free to dispense with the prog and concentrate on making soulless pop rock under the able tutelage of that guy who wrote the song from Tarzan. Plus, my introduction to the genre via bands like the Mars Volta and Coheed & Cambria shows that good 'ol fashioned prog-ass-prog is still alive and well. It just grafts itself onto a willing genre like a face-hugging xenomorph and goes to town.

Prog even has vague flirtations with coolness through its continued presence in hip-hop and electronica samples. Goblin's "Tenebrae (Main Theme)" has the distinction of being one of the only credited samples on Justice's masterpiece, Cross, and Kanye West just got all Robert Fripp on our asses when he sampled King Crimson's "21st Century Schizoid Man" on his new (and excellent) single, "Power."

And, let's not forget, metalheads have always been uncool. Prog is like a second language to those guys.
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Wednesday, May 19, 2010

Passing Fads: Introduction and Rap Rock


As I listened to hour after hour of mind-numbing top forty radio - it's all we had - on a recent mission trip, I contented myself with the fact that, as bad as it got, at least it wasn't rap-rock. Three-minute versions of Nicholas Sparks novels, various permutations of "Poker Face" performed either by Lady Gaga or someone who isn't Lady Gaga, a seemingly thousand Taylor Swift songs that sound exactly the same; I can breathe easy because they're not being performed by a skinhead in a red Yankees cap.

The more I thought about the glorified trailer trash that dominated mainstream radio in the mid to late 90's, the more I wondered: how did we ever enjoy this crap? Was American pop culture really so starved, so debased, that it would tolerate lyrics like, "So where the fuck you at, punk?/Shut the fuck up/And back the fuck up/Before we fuck this track up"? Did every band on rock radio really need a fucking turntablist? Was it all a bad dream?

Rap rock seems like a particularly bad case, but the American zeitgeist has gone through countless such abortions of good taste. Sometimes, just the right combination of truly awful ingredients exist in the cultural atmosphere to produce the perfect shit-storm. And for a mercifully short (or agonizingly long) time, we're all obsessed with something we'll be ashamed of within a few years. I wish we could see past these passing fads. But hindsight is 20/20. And some people like crap.

In this column, I'll be tackling these misguided cultural fixations one week at a time. Rap rock seems like a natural starting point, since it's what spawned this whole enterprise in the first place. Because of the thoroughly bandwagon-y nature of the major labels, I'll start out with shitty music, but I may move on to shitty TV and shitty movies (I'm looking at you, moralizing teen horror movies).

I'll not only chronicle their rise and fall, but I'll try to tackle a more fundamental question: what made these trends, which seem apparently God-awful today, so popular at the time? And is there anything artistically redeeming about these movements in general? After all, I like to think that I can find something redeeming in even the crappiest cultural artifact.

So, without further ado, I give you the first iteration of "Passing Fads," the hot new column from that equally hot and equally new culture blog, Charge-Shot...

Rise to Power: Like most miscarriages of sound (I'll see how many more pregnancy metaphors I can use), rap rock began with noble intentions. Run-DMC's collaboration with Aerosmith on a remake of the latter's "Walk This Way" is probably what introduced most listeners to the concept that people could have chocolate with their peanut butter. And, as the founding document of the genre, "Walk this Way" is actually pretty excellent. Joe Perry's ubiquitous syncopated guitar riff is a perfect match for Jam Master Jay's tinny sampled drum pattern. And though I would've preferred fresh verses from Run and DMC, Steven Tyler's jumble of speak-sung vocals work pretty well with the singing half exorcised. The track unfortunately didn't set the tone for the genre as a whole, which degenerated rather quickly.

Even the better examples of other early rap rock sound clumsy and awkward by comparison. They've inspired fanatic devotion in countless living fratboy stereotypes, but Red Hot Chili Peppers have put out some painfully lame white-boy rap. I'll concede that the high water marks in the Peppers' catalog ("Scar Tissue," "Give it Away," their cover of "Higher Ground") aren't half bad, but the best of their stuff succeeds in spite of Anthony Kiedis' caveman-level "raps" ("What I got I got to give it to your mama/What I got I got to give it to your papa"). Faith No More's "Epic" evinces a similarly uncomfortable juxtaposition of a killer hook and Hulk-smash rhymes.

'Course the Beastie Boys demonstrated that rap rock worked best when it was tongue-in-cheek. License to Ill doesn't top post-modern masterpiece Paul's Boutique, but it certainly soundtracks an ironic-minded house party just fine.

Top of the Pops: Despite lumbering, Neanderthal-like, around the musical landscape since the mid-80's, rap rock didn't manage to really get its sweaty meathooks around the top of the Billboard charts until the late 90s.

Limp Bizkit, the secret middle school shame of anyone who today considers themselves a music snob (read: me), epitomize the sound of rap rock before the new millennium: big, dumb, uncomfortably violent, and trying so hard to sound black that it's about to pop. Songs like "Rollin' (Air Raid Vehicle)"1 and "My Way" (which features, shamefully enough, an Eric B. and Rakim sample) throw together bone-simple guitar riffs, lyrics that can charitably be called idiotic, and incongruous DJ scratches to spectacularly uncomfortable effect. I don't know how many more synonyms for "awkward" I can come up with.

Then there's Detroit's own Rob Ritchie a.k.a. Kid Rock a.k.a. the guy who rhymed "rolled down my glass" with "this dick fits right in your ass." Kid pushed the white trash homeboy thing to its breaking point, slinging lyrics about being an "early morning stoned pimp" over Allman Brothers samples. That he's still a marketable commodity is sort of remarkable, considering.

Papa Roach and KoЯn (yeah, I did it) downplayed the hood-ass-white-guy angle but maintained the sound and bloody "imagery" (again, I'm being charitable here). If Kid Rock and Limp Bizkit shot for frat boys and sorority girls, Papa Roach and KoЯn wanted the goth kids and future strippers. You were supposed to scream songs like "Freak on a Leash" and "Last Resort" at your parents through your bedroom door, not bump them at Big 10 keggers.

And then, of course, there's Linkin Park, who tried (valiantly?) to inject a bit of artsy-fartsiness into the genre. Though all the rotoscoped music videos and bullshit paeans to graffiti culture can't make up for how boring, boring, boring most of their songs were.

Fall from Grace: Eventually, people just got fed up with how crappy these white people were at rapping. Limp Bizkit lost the one person with a modicum of talent (guitarist Wes Borland, the one with all the stupid makeup), Linkin Park jettisoned the rap side of their sound almost entirely2, and Kid Rock became a country star.

WHY, GOD, WHY:3 As much as people hate to admit it, sometimes rap and rock work as perfectly together as malt liquor and pro wrestling. Great rappers have used rock samples for years to tremendous effect. Jay-Z has gravitated more and more towards hard rock over the years, and usually done it pretty damn well ("Run this Town," "99 Problems"). We just won't talk about that collabo he did with Linkin Park.

When it's done well, rap rock can create a fierce, energizing groove. You've probably been wondering why I haven't mentioned Rage Against the Machine before; I was saving them for the good part. Even if Zack de La Rocha has never been a particularly adept rapper, Rage manages to marry his Noam Chomsky diatribes to Tom Morello's inimitable guitar sound incredibly effectively. Songs like "Wake Up," "Bullet in the Head," "Bulls on Parade," and "Ashes in the Fall" show why thugs from the Florida panhandle don't have a corner on the market.

The irritating popularity of mash-ups also attests to the fact that white kids continue to enjoy rap if its being overshadowed by something that isn't rap.

And, oh yeah, "Sabotage."4

Back to the Future5: Rap rock has a herpes-like affinity for seemingly disappearing before flaring up and making all your friends refuse to share drinks with you. And just as it died for a few years in the early 90s before roaring back before aughts, rap rock is undergoing something of a revival as we speak. It's gotten so bad, in fact, that even the dads at the New York Times have noticed it. This nu-nu-metal is almost uniformly awful (Hollywood Undead, ugh), but the worst development may be the unholy combination of screamo and rap (dubbed "crunkcore") that's slimed its way out of the bowels of hell in the past few years. I'll link those of you looking for a good reason to off yourselves to a video by New Mexico Rhodes Scholars Brokencyde, but be forewarned: even if you weren't thinking about killing yourself, this may just be too much.

Notes:
1. Yes, there is another version of "Rollin'", produced by Swizz Beatz and featuring DMX, Redman, and Method Man. Everyone involved in this project deserves to be killed except for Method Man, who gets a lifetime pass for being on "The Wire." Not even the Wu exonerates him of his repeated involvements with the Dursty one.

2. Watching the guy from Fort Minor adjust his mic in the video for "What I've Done" and then not rap/sing a single line is such a treat.

3. I.e., why people like this crap.

4. Full disclosure: I used to loooooooooooooove rap rock when the only draft I was aware of was a booster draft. Get me drunk enough, and I'll probably admit that I really like "Falling Away from Me," think Limp Bizkit's cover of "Faith" is just stupid enough to be kind of brilliant, and dig out my old 311 CDs with embarrassing regularity.

5. I.e, the future of rap rock.
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