Oh My, '09!

2010 is almost upon us and, since I may not have access to a computer on New Year's Eve, I'm posting my playlist for the best of 2009.

This is not a Top 10 list in the sense that the songs are ranked. Like its predecessors (O Mc 7 and Mixtape '08), Oh My, '09! is meant to be listened to all the way through, as a continual playlist. The songs are assembled in such a way as to fit on a single CD and to flow. In this case you'll see a flowing transition from rap songs to rock songs. Unfortunately, because of this limited format not all the songs can fit.

What follows is an extended version of the Oh My, '09! playlist. All of the songs would not fit on a single CD as planned so if you try and build your own Oh My, '09! not all of the music will fit on the CD (Gogol Bordello's Troubled Friends has been omitted from the official hardcopy, which is being released to absolutely no one).

So here are my favorite songs from 2009! I encourage you listen to them all if you haven't already.

1. "Yes" by LMFAO from Party Rock

This song has to be one of the funniest songs of the year. Probably the perfect party song, "Yes" details the larger than life rap star lives of Redfoo and Sky Blu. This track pokes fun at the whole rap image, placing goofy lyrics over a cliched synthetic beat.

Watch Here

2. "Ghost Dance Deluxe" by Felt from Felt 3: A Tribute to Rosie Perez

While "Yes" treads on familiar hip-hop territory, this song by rap trio Slug, Murs, and Aesop Rock follows a darker muse. Murs and Slug confess their love affairs with female ghosts, accompanied perfectly by Aesop Rock's murky and haunted production.

Listen Here

3. "Auditorium" by Mos Def, featuring the Ruler, from The Ecstatic

On this track Mos Def meditates on his life and the times over a Middle Eastern-tinged retro R&B beat. While "Auditorium" isn't the catchiest track off of The Ecstatic, it receives a boost from the Ruler's humorous (albeit a bit condescending) glimpse into the hard life of a soldier in Iraq.

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4. "Spacious Thoughts" by NASA, featuring Tom Waits and Kool Keith from The Spirit of Apollo

This song was perhaps my favorite surprise of 2009. NASA's funky backbeats and cacophonous clang meld perfectly with the duel between rapper Kool Keith and musical mystery man Tom Waits. Waits is absolutely terrific on this track, in all of his gritty, growling glory. Here he proves that no genre is off limits to him.

Watch Here

5. "Empire State of Mind" by Jay-Z, featuring Alicia Keys from The Blueprint 3

Alright, I had a deep debate with myself about including this song because, well I just don't like Jay-Z. He's extremely overrated in my opinion. And while his verse isn't very good on this track ("De Niro" doesn't rhyme with "forever") I have to admit that it has a really good hook. But I think that's mostly due to Alicia Keys.

Watch Here

6. "100 Little Curses" by Street Sweeper Social Club from Street Sweeper Social Club

The team-up between Tom Morello and rapper Boots Riley seemed like a dream come true to me, unfortunately it seems they'll never imitate the power or passion of Rage Against the Machine. Regardless, it's great to hear Morello rock out again.

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7. "Drumroll (We're All Thirsty)" by P.O.S.

This punk-infused hip-hop track has an urgency and furiosity that is undeniable. P.O.S.'s machine-gun lyrical delivery is probably one of the best of the year.

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8. "Cousins" by Vampire Weekend from Cousins

Taking a much lighter turn, "Cousins" is a very fun song that exposes Vampire Weekend's slightly silly side. Since this song is due to be released on the album Contra in January, this catchy number might gain the distinction of being the first song to appear on one my playlists two years in a row.

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9. "Heartilation" by Andrew Jackson Jihad from Can't Maintain

Singer Sean Bonnette rips his heart out this track, exposing his neuroses with self-deprecating wit. But as he sings "There's no one to love, no one to trust in my life", one can't help but tap their foot to the rocking anti-folk sound

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10. "King Rat" by Modest Mouse from No One's First, and You're Next

Though "King Rat" is a B-side for the 2007 album We Were Dead Before The Ship Even Sank, it truly deserved to be a single. This song is perhaps my favorite song of the year. The music is great and Isaac Brock's vocal delivery is absolute gold.

Watch Here

11. "Lucinda - Ain't Goin' Down" by Tom Waits from Glitter And Doom Live

Although it may seem a bit odd to include a track from a live album, I feel it's deserving since this performance is a complete transformation of two song from 2006's Orphans: Brawlers, Bawlers, and Bastards. Waits took a stripped-down song that was driven by some rough beat boxing and a tremolo country blues tune, and combined them with a full band to create a whole new sound.

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12. "Watching the Planets" by The Flaming Lips from Embryonic

On Embryonic, the Flaming Lips really embraced a new sound, ditching the happy pop sound for a darker, rougher sound. Embryonic is my favorite album of the year for the sounds and grooves that the Flaming Lips found in the dark and dirty places they explore. The music video features Wayne Coyne in his trademark plastic bubble, surrounded by a whole lot of naked people. Crazy naked people. Well at least it's not Christmas on Mars.

Watch Here (Viewer Discretion Advised)

13. "Lithium" by The Bad Plus from For All I Care (with Wendy Lewis)

The pop-savvy avant-garde jazz trio teamed up with indie rocker Wendy Lewis to cover Nirvana's "Lithium" and did a great job with it. Dissonance and added beats make for a lurching, stumbling interpretation that suits the lyrics perfectly.

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(14... not on the CD). "Troubled Friends" by Gogol Bordello from Live from Axis Mundi

This is not Gogol Bordello's best song (it's an outtake from a 2005 recording session) but it's still a fun song.

Check it out Here

15. "I'll Fight" by Wilco from Wilco (The Album)

Wilco's latest album was great and this song of love and sacrifice was the stand-out track for me. The lyrics are timeless (although I think of WWII) and its sound is understated.

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16. "Oscar Wilde" by Company of Thieves from Ordinary Riches

On this song, Genevieve Schatz sweet and stylized singing is supported perfectly by Marc Walloch's flexible guitar playing. It's a fine pop song and a light listen, but it's dynamic variation avoids cliche.

Watch Here

17. "No Line On the Horizon" by U2, from No Line On the Horizon

Sometimes I feel that U2 may be running low on creative juices, but here they seem to be holding it together. My favorite part of this song is how the second verse picks up with the introduction of the second drum part.

Listen Here

18. "Harry Patch (In Memory Of)" by Radiohead from Harry Patch (In Memory Of)

This song was released online as a memorial to the death of the last surviving British veteran of WWI. While it's not my favorite Radiohead song, it has a beautiful (and deceptively soothing) string arrangement.

Listen Here

19. "United States of Eurasia / Collateral Damage (Excerpt from Nocturne in E-Flat, Op. 9 No. 2)" by Muse from The Resistance

One of the challenges of putting this playlist together was deciding which Muse song to include because their new album was pretty good. In the end I went with this one (of course it's the one with the longest name) because it's the most interesting. Muse manage to combine Queen, Ravel, and (literally) Chopin into one song, which is no small feat.

Listen Here

So there you have it. That's Oh My, '09! now go listen to some music.

Movies: Sherlock Holmes

Guy Ritchie's newest film was a blast. Robert Downey, Jr. is cast masterfully as the prankish title character, partnered perfectly with Jude Law as the stern and stalwart Watson. The movie's script takes the buddy-action comedy to a new level, putting Holmes and Watson in a dysfunctional bromance. Downey and Law's chemistry is great which, combined with great action and a good mystery, make for an awesome film (with a great soundtrack by Hans Zimmer). Though neither Downey or Law (especially Law) don't conjure up traditional images of Sherlock Holmes and Dr. Watson, this is perhaps for the better, for a bold revision of a classic. Now, with the possibility of a sequel waiting on the horizon, it's no mystery that Robert Downey, Jr. will continue to make some serious money.

Stickball

Top Videos of 2009

So it's nearing the end of the year and Oh My, '09! is almost ready for release. But since there's time between now and New Year's, I'd like to take this chance to go over my favorite music videos of 2009.

At the top of the list is "Spacious Thoughts" by NASA, featuring Kool Keith and Tom Waits. The animation for this music video is top notch, featuring vibrant splashes of color splayed violently over a gritty urban landscape.

The next video on my list, another animated video, is for "King Rat" by Modest Mouse. This video, directed by the late Heath Ledger, is composed of rough animatic animation. The video, which depicts a crew of whales hunting for humans in the ocean, is provocative but also extremely disturbing.

Next up is the video for "Cousins" by Vampire Weekend which is just a lot of fun to watch and, like the video for "Oxford Comma" seems to celebrate the band's love of film.

The last video I'd like to acknowledge is for "Oscar Wilde" by Company of Thieves. This quirky video, which was what originally drew me to Company of Thieves, is a homage to Wes Anderson's film, Rushmore.

Album Review: "Felt: A Tribute to Rosie Perez" by Felt

When I first learned that rap duo Felt was a team-up between Murs and Slug, my curiosity was piqued. When I learned that Aesop Rock was doing production for their latest release, Felt 3: A Tribute to Rosie Perez, I was hooked in. Aesop Rock is my favorite rapper, not only because he is a great lyricist, but also because of the music under his rhymes. While Blockhead does the majority of the production on Aesop Rock’s albums, Aesop Rock can hold his own and his sound is unmistakable. No one makes beats like Aesop Rock and he creates some of the most interesting and complex rap music out there. I took a quick listen to previous Felt albums and the production overall seemed solid and pretty standard. But it was just that: pretty standard. So, needless to say, I went into this album with high expectations and I wasn’t disappointed.

The album opens with “Protagonists”, a fairly standard hype track where Murs boasts “Who made you want to rap and be independent? /It’s Felt, motherfuckers if you want to come and get it.” Though not the brightest track on the album lyrically, “Protagonists” serves as a preview of Aesop Rock’s production for the rest of the album: rock beats mixed with synths and absurd samples.

The Felt trio begin to hit their stride with the thumping “Bass for Your Truck”, which drives forward, leading into the slightly unsettling “Like You”. Next comes “Permanent Standby”, a track that proves to be one of the best on the album. The lyrics tell the tragedy of a misguided girl drifting from city to city, from drug to drug. The straightforward lyrics are laid perfectly over a relatively sparse beat, punctuated by menacing guitar feedback.

My favorite song on the album is “Ghost Dance Deluxe”, a trip off the beaten path where the guys from Felt confess their love for phantom female. Murky synths and faraway trumpets accompany Murs as he declares, “Forget material girls I need a paranormal chick from an ethereal world.”

For the rest of the album Felt moves back and forth between standard material like the hype tracks “She Sonnet” and “Felt Good”, and more interesting fare like “Henrietta Longbottom”, where Murs and Slugs trade absurd tall tales of the eponymous character. For the most part, Felt 3 is entertaining and catchy. However, Aesop Rock’s production is a bit of an acquired taste, since his beats can be too dense for their own good. An example of this is “We Have You Surrounded”, where the music is pushed way up front and almost completely drowns out the vocals.

Another issue with this album is that it is very long. At over an hour long with 21 tracks, Felt 3 can be a trial to get through, and it is probably Felt’s least accessible album. However, it definitely worth a listen to any rap connoisseur, and fans of Murs, Slug, and/or Aesop rock will certainly find something to enjoy.

Check out Felt online here

Music News

So, I just saw an article online that said Flea was joining in with the Rage Against The Machine campaign which got my attention because I had just mentioned both in the same article. "What a coincidence!" Turns out the article had nothing to do with the whole fight against X Factor and it was an article about Flea releasing a line of bass guitars. Completely irrelevant to Rage but cool nonetheless.

Also, there is already backlash against Rage Against the Machine's radio appearance but methinks it's just some people trying to stay ahead of the hip curve.

Also, did not know Flea was a hobo.

Music News

So some things seem to be happening to two faded bands by which I mean Red Hot Chili Peppers and Rage Against the Machine. The Chili Peppers seem to be disintegrating while Rage may see a revitalization.

Today, NME ran an article that revealed that guitarist John Frusciante has left the Red Hot Chili Peppers, which is a shame for me because Frusciante's playing was the principal reason

I listen to the Peppers. RHCP's best albums were marked by Frusciante's involvement, starting with their breakout Blood Sugar Sex Magik. Frusciante left the band after that and was replaced by Dave Navarro for the mediocre One Hot Minute. Frusciante rejoined the band in 1999 for Californication, the album that would solidify the Chili Pepper's popularity.

It seems to me that Frusciante's departure is a nail in the Chili Pepper's coffin. In 2006, RHCP released their last album, Stadium Arcadium (the band's most critically successful album), and then went on tour. Following the tour the band went on hiatus, starting in 2007. Drummer Chad Smith went to play with Sammy Hagar and Joe Satriani in the band Chickenfoot and bassist Flea did live shows with Thom Yorke. However, according to Chad Smith, the Chili Peppers have been in the studio since October so we'll see what becomes of the band. Frusciante is reportedly going to be replaced by friend and multi-instrumentalist Josh Klinghoffer.

So while the Red Hot Chili Peppers are seeing some potentially devastating changes, Rage Against the Machine is seeing a bit of a comeback, according to another article by NME. Today, Rage appeared live on Radio 5 in the UK, playing their song "Killing in the Name". The reason for their appearance is that a campaign has been started (via Facebook) to get "Killing in the Name" to the Christmas Number One slot on the UK Singles Chart in order to beat out the main contender, X Factor winner Joe McElderry's cover of Miley Cyrus' "The Climb".

The campaign started as a grassroots protest against the commercialization of the UK music industry, specifically in response to the fact that the Christmas Number One slot has been dominated for the last four years by the winners of the popular singing show, X Factor. The campaign has been getting results as the "Killing in the Name" leads "The Climb" by 36,681 copies.

While Simon Cowell has come out against the movement, defending Joe McElderry, it seems to me that Cowell is only protecting his interests. It seems laughable that he could truly care about a product of his pop singer fabrication machine. It also seems absolutely ludicrous that the single is a cover of a Miley Cyrus song that was released earlier this year. I mean, really? Is that the best the pop industry can do? Give us a rehash of a song we just heard? It's almost as if they're spitting in the public's face, as though Simon Cowell is sneering and daring the audience to refuse to buy his crap.

Though they did not have any part in organizing the movement, the members of Rage say they support the significance behind the campaign and are "honored" that their song was chosen. They have announced that the proceeds from the sales of their single will be donated to a charity called Shelter that aids the homeless.

Their appearance on the Radio 5 was made in support of the campaign and, in classic Rage style, caused controversy when, despite being asked to play an edited version of their song, decided to keep to the original. Yes, Zach de la Rocha screamed "Fuck you, I won't do what you tell me" on live radio. I would expect no less.

Following a series of reunion performances in 2007 and 2008, it seems that Rage is still relevant and active in one form or another. However, despite the possibility of future performances together, the band still says they have no intention of producing another album.

Music You Should Listen To: Watsky

So I just learned recently that Emerson student and slam poet George Watsky has recently released a rap album. I haven't had a chance to give it a good listen but I've heard one song, "Who's Been Loving You?" and I have to say it's pretty catchy. It combines Watsky's usual self-awareness and pop culture perception with some sweet beats. Watch Watsky relive his childhood in the official music video.

Stickball

Stickball

BSO Bad Mo'Fo'

So last night I watched the Boston Symphony Orchestra perform. The program that I saw included Debussy's "Prelude a l'Apres-midi d'un faune", Stravinsky's ballet suite from The Firebird, and Brahm's Violin Concerto in D. Now, while all the pieces proved to be equally enjoyable in different ways, the violin concerto proved to be the highlight of the night. The reason for this was because I was able to witness the incredible playing of Joshua Bell, who was the guest soloist for the orchestra. Joshua Bell is an award-winning violinist and has been in the classical limelight since his debut at age 14. However, he is most well known in recent years for taking part in a social experiment where he played his violin in a busy subway. The result was that most people did not stop to listen to the world-class violinist.

Anyway, it's apparent that some people aren't impressed by his skills but I sure am, and I consider myself lucky that I was able to hear him play. After the program ended, he came back out and stage and played a virtuosic rendition of "Yankee Doodle" and it was really cool. Check this video of him doing it at the Hollywood Bowl. OMG left hand pizzicato.

P.S.

If Joshua Bell ever pulled a Final Fantasy it might just make my head explode.

Life of Riley

Wrap it Up

Now that November has come and is almost gone, it has come to my attention that 2009 is almost over. That means, it is time for the annual, end-of-year, summative compilation CDs/playlists! Though it seems that my colleagues at Pablo Bunny and The Hipster Doucheblog have not had the testicular fortitude to maintain their respective blogs, I am sure that their respective members will produce their own playlists. But mine, like always, will be better, smarter, catchier, and yearier.

So with that, I announce the construction of the follow up to 2008's groundbreaking Mix Tape Oh Eight! which will be called "Oh My, '09!".

The playlist was started early today and is already half-formed. Over the next month it will go through several thousand stages of adjustments, re-calibrations, and revamps until it emerges as a perfectly polished diamond of popular music on New Year's Eve. I'm sure you are very excited.

Turducken

Turduckens: Genetically engineered Super Soldiers, protecting America from hunger for the last 15 years.

Vampire Thanksgiving Weekend

For last year or so I've been awaiting Vampire Weekend's next album, not because I'm in love with the band, but mostly because I've been extremely curious about what they're gonna do next. Would they stick with the same sound or try something new? Where do they go from there? Well I've recently received a hint of what's to come, thanks to a tip from Spin Magazine. Vampire Weekend will be following up their eponymous debut with Contra, which drops January 12th.

So far I've listened to the first two singles from the album, "Cousins" and "Horchata". Both songs maintain the light feel of previous Vampire Weekend songs as well as some familiar instrumentation. "Horchata" includes electronic sounds and percussion that sound occasionally as though they were borrowed from an N64 game (Ocarina of Time?). "Cousins" sounds more like Vampire Weekend's debut material except a little sillier. The song is energetic and incredibly catchy and is accompanied by an equally fun and infectious video. Check it out.

Stone Broke TV

Check out the new comedic web series Stone Broke starring Reggie Williams

Eric is Still Gay

love you... Wesley.

Movies: A Serious Man

The latest Coen Brothers' film is dark comedy served black, no sugar. The movie follows a Jewish family man in 1967 who is plagued by misfortune after misfortune. Though this movie is pretty funny, sometimes it can be too bleak for its own good.

Fishy Business

So today I almost bought a goldfish. It was gold but it had black fins and and a little black spot just above his mouth. It looked a lot like Hitler. Needless to say, I was smitten. So I was so excited to buy little Adolf that I picked out a gallon bowl and a model wrecked WWII tank (they actually sell those) for him to play around in. Then the sales lady informed me that as he grew, little Adolf would need a bigger and bigger bowl. Even Nazi fish believe in Lebensraum. So, I had to give up on little Adolf. I wouldn't want him to be terrorizing the little French and Polish fish.

Movies: Zombieland

Coulda used more zombie killing. That's all I'm saying.

The Mind Eraser

So I have made a hobby of making hypothetical supergroups of my favorite musicians. My interest in these sort of things was revitalized when the band Chickenfoot emerged, a collaboration between Sammy Hagar, Joe Satriani, Red Hot Chili Peppers' Chad Smith (who was a constantly considered for the drummer in my theoretical bands) and Michael Anthony.

Anyway, when I make bands I usually like to pick musicians with similar styles or personalities so that they fit together. Now, Thom Yorke is one of my favorite singers/songwriters, so he is often a candidate for one of these imaginary supergroups. Flea, Red Hot Chili Peppers' over-the-top bassist, is another candidate. However, I would never think to put these two seeming poplar-opposites together.

But that is exactly what has happened. Today, Thom Yorke announced that he will be performing material from The Eraser with Flea, Nigel Godrich (Radiohead's producer), Joey Waronker (drummer for Beck), and Mauro Refosco (percussionist for David Byrne and Bebel Gilberto). They have two performances coming up in Los Angeles and, though they don't have a name yet, they will be playing some new material.

I'm not sure how I feel about this. I'm sure that the music should be pretty good, but I'm worried how this will affect Radiohead and I wonder if this might be another nail in Red Hot Chili Peppers' coffin. If so, maybe Jonny Greenwood and John Frusciante could work together.

poor kitty

Jinjoism

Perspective

Once again this cartoon is very late. I've had trouble getting my scanner to work. This cartoon was more relevant about 3-4 weeks ago, when Fox News fixture Glenn Beck was going on and on about Van Jones being a communist and talking about all the poison he must be pouring in the President's ear. Thank God for Glenn Beck for running a dedicated and motivated advocate for environmental reform out of office.

Album Review: "The Resistance" by Muse

Well Muse is back at it again with another gloriously over-the-top album. While less stylistically diverse than 2006's Black Holes and Revelations, The Resistance is perhaps the most musically impressive release by Muse due to the widespread inclusion of orchestra parts. This album channels influences from glam rockers like Queen and composers like Rachmaninov and Tchaikovsky. Lyrically, this album is political, as singer Matt Bellamy runs through the familiar fist-pumping rap we've been hearing since 2003's Absolution. Here are foot-stopping anthems about freedom and overthrowing oppression but overall the lyrics are too vague and generic to be truly impressive. Indeed, like many Muse albums, the most impressive thing at work is the music.

The album opens with the first single, "Uprising". UFO synths and hand claps are laid over a thumping bass-driven beat before bursting into a guitar and synth arpeggio-laden chorus where Bellamy lays out his revolutionary campaign promises of "They will not force us/They will stop degrading us/They will not control us/We will be victorious". If you listen hard you can hear Bellamy reaching impressive high octaves on the background vocals, much in 2006's "Knights of Cydonia".

The next track, "Resistance", is a lot more urgent, relying less on crunchy riffs but on galloping drums and echoey pianos. Originally an off-shoot of Black Holes and Revelations' "Map of the Problematique", this solid title track draws lyrical inspiration from the love affair in George Orwell's "1984".

"Undisclosed Desires" is the album's first stand-out track. Featuring a pizzicato string section, this song sounds almost like a straight-forward pop song, almost so much that I can imagine Matt Bellamy doing some sort of Justin Timberlake dance while singing it.

The glam rock really comes out in "United States of Eurasia/Collateral Damage (Excerpt from Nocturne in E-Flat, Op.2 No.9)" as well as a number of classical influences. Bellamy cited Maurice Ravel and Peter Tchaikovsky as influences, which definitely shows in the dramatic post choruses. The pre-chorus sounds like it was ripped straight from a Queen song, as Bellamy belts over a screaming guitar. After an operatic climax, the track settles into Frederic Chopin's Nocturne in E-Flat, played on piano with a string accompaniment over sounds of children and then sounds of warfare.

"Guiding Light" proves to be the only low point on the album, a tribute to 1980's stadium rock that's just too cheesy for it's own good. "I Belongs To You/Mon cœur s'ouvre à ta voix" brings some pop quirks to the album with a solid groove and some silly circus songs. An excerpt from Saint-Saens' opera Sampson and Delilah is included in the middle of the song and the whole thing is wrapped up with a playful bass clarinet solo.

The last three tracks are a three-part symphony inspired by Rachmaninov, Strauss, Chopin, and Pink Floyd. Part 1 sounds like a more melodic version of the Smashing Pumpkin's "The Beginning Is the End Is the Beginning". Part 2 starts out like a softer throw-back to their 2003 track, "Butterflies and Hurricanes". Part 3 provides a sweeping climax before quietly cooling down in a reflective resolution.

Overall, this is an ambitious and exciting album. I bought the iTunes LP for $12 and it was definitely worth the price as it came with lining notes and bonus videos.

Movies: Inglourious Basterds

Coulda used more Nazi killing. That's all I'm saying.

Healthcare Reform Deformed

yeah, this is an old cartoon. It took me a while to post it. Though it was way more relevant two weeks ago, Sarah Palin did me a favor by bringing up "Death Panels" again so just pretend like I'm on top of my stuff.

Concert Review: The Flaming Lips in Boston, MA on 8-30-09

The Flaming Lips have a reputation for having pretty wacky concerts and I had great expectations going into the show this past Sunday. I was not disappointed. On the way to the show I rode on a bus filled with people who were obviously Flaming Lips fans. At the show I saw a man dressed as an Ewok, wearing a Oklahoma state flag, and another guy dressed as Beaker from the Muppets. I could tell it was going to be a good night

The venue was the Bank of America Pavilion. Located on the water, it was essentially a giant tent with open sides. The weather was beautiful and every now and then a breeze would waft through. Though the Pavilion is across the water from Logan Airport there was no noise from the airplanes taking off or landing. The Pavilion was spacious but not too big. Even the farthest seats had a decent view of the stage.

The opening bands were Star Death and White Dwarfs (headed by Wayne Coyne's nephew) and Explosions in the Sky. Overall, I felt that the opening band's sets went on too long, in comparison to the headliner's set which seemed kind of short. Explosions in the Sky really wore on my patience. They played instrumental guitar songs, transitioning back-and-forth from crunchy, hard-hitting rock to drawn-out ambient musings. While the sounds were often beautiful it seemed like the band was over-indulging themselves in their delay-and-reverb-heavy noodlings.

But soon after the opening acts the crowd began to get fired up as Wayne Coyne walked around the stage as the crew began setting up. He waved at the crowd, pausing every now and then to inspect this or that. Then the show started.

The giant half-circle screen lit up showing a naked woman dancing (there would be many images of dancing women, clothed and unclothed, throughout the night). The woman on her screen laid back and the camera zoomed in on her vagina (which was some sort of psychedelic rainbow void). The screen opened up and out came the band members as Wayne Coyne was kneeling in a deflated the plastic bubble. Now, you know you're in for a good show when the band comes out of a giant, electronic, psychedelic vagina (because chances are you're at a Flaming Lips show). Coyne's bubble was inflated and he walked out onto the ground. 

The concert had the kind of energy that only a Flaming Lips show can have. Confetti and balloons rained down as smoke machines blasted. Coyne spent a lot of his time on stage throwing balloons out into the crowd and shooting streamers into the air. There were dancers on each side of the stage. Stage right had guys in animal costumes and stage left had girls in skimpy space costumes. Eventually the guys were joined by a giant butterfly with a crown and a catfish wearing a captain's hat. The lights and visuals were amazing.

The band played materially spanning much of their catalogue, from Transmissions from the Satellite Heart to material from their upcoming album Embryonic. Their last albums, Yoshimi Battles the Pink Robots and At War With the Mystics were the best-represented. They debutted "See The Leaves", one of their new songs which they had not played live before and some other material that I'm not allowed to talk about.

The crowd's excitement level was high and Coyne definitely fed off of it. He teased the crowd through slow, stripped down versions of "Fight Test" and "Yoshimi Battles the Pink Robots, Pt. 1". The music would stop between phrases and he would wave his arms to try and keep the cheering going and insisted the crowd do karate chops for "Yoshimi". For most of the songs he either encouraged audience participation or encourage the crowd to sing a long and go nuts. 

One of the highlights of the show was when a giant balloon filled with confetti popped on Coyne during "The Yeah Yeah Yeah Song" causing him to say "fuck" instead of singing the lyrics. Another high point in the show was when Coyne held up a bugle to the microphone while "Taps" played behind him, before the band burst into "The W.A.N.D."

For the encore the band came out on stage and led everyone in singing "Happy Birthday" for a girl named Lindsay towards the front of the crowd (making "She Don't Use Jelly" only the second-best sing-along of the night). Finally, they wrapped up the show with "Do You Realize??", a cathartic end (a wonderful breeze came in just at the climax of the song) to a fun-filled night. The only way the night could've been better is if I had a seat closer to the stage, in range of the confetti and balloons.

Stickball

A Rant on Sexism, Gender Equality, Political Correctness, Hypocrisy, and Rhetoric

So I recently read an article about the push for politically correct language. Words and phrases such as "manhole", "master bedroom", and "gentleman's agreement" are being labeled by some groups as offensive. Now this just seems silly to me. I really doubt that words like "snowman" are contributing to inequality of the sexes and arguing about these words just distracts from larger and more important issues. On the flip-side, anti-male sentiment has become popularized in modern media. In TV shows and commercials there are numerous example of the "dumb man" and the "smart woman pairing. But that isn't very disconcerting. I recently came across a "Chicks Rule" calendar at the locals Borders bookstore and what I saw worried me. Here are some images contained in these calendars:

When people look at these pictures some may see female empowerment and others may see the subjugation of males. Now, as a male, I am not threatened by these images, but the fact remains that they are sexist. But of course there's no great outrage about them, which isn't surprising. So of course what bothers me is the hypocrisy of it. Blatant sexism against males is allowed, but suddenly "snowman" just isn't sensitive. Doesn't give the feminist movement much credibility when they say they want gender equality.

Besides examining the hypocrisy, it's important to ask what this is doing to the younger generations. I remember a popular rhyme from my youth that I believe is still around: "girls go to college to get more knowledge, boys go to Jupiter to get more stupider." While this popular chant is grammatically incorrect, it is hurtful and sexist. Well I can't say anything for certain as I am not an expert and child studies, I feel that our society's children could be growing up in an increasingly male-intolerant environment.

There has a been a big controversy about a book and line of clothing produced by the clothing company David and Goliath. The products that this company sells carry slogans such as "Boys tell likes, poke them in the eyes", "Boys make good pets, everyone should own one", "Girls will be girls, boys will be toys", and "Boys aren't housebroken". These T-shirt designs often depict boys as being stupid or slovenly and portray acts of violence against boys. Masculinist critics decry these images saying they encourage misandry (which is the hatred of men, the male equivalent of misogyny). Other people say that such images are all in good fun and creator Todd Goldman has stated that they are meant to be humorous.

It doesn't really matter what the intentions behind these kind of images are, it still stands that they can be considered offensive and hurtful. Again, we see the hypocrisy. There is no market for "Girls Are Stupid" products because feminists would yell and protest until they were off the shelves. But we are no strangers to hypocrisy so that is not the most important issue at hand. What is important how these products affect young boys. Yes, the images are supposed to be funny but boys may not get in on the joke. Masculinists argue that these kind of images stigmatize and victimize young boys, which may not be too far off. In general, girls seem to being performing better than boys in many scholastic areas. Boys are much more likely to develop social and behavioral issues. Now, masculinists contend that boys are being confronted with a new crisis of self esteem. Imagine being a 10-year old boy and seeing someone wearing a T-shirt that says you're dumb and that girls should hurt you. How would that make you feel? And if you were a girl that saw a T-shirt that made fun of girls and encourage violence towards girls, how would you feel? It's not acceptable either way. These kinds of images can either be considered a form of bullying or can lead to bullying.

While some people believe the concerns raised about the "Boys Are Stupid..." products may be exaggerated, I think that it's an issue that deserves more attention than the debate over the political correctness of using "spokesperson" instead of "spokesman". Should we shorten "woman" to "wo"?

On an almost-related note I feel like discussing this image:

Now, at the surface this seems like an interesting statistic that is supposed to spark some sort of moral outrage. This is a poster made by the Guerrilla Girls, a feminist group dedicated to exposing "sexism, racism, and corruption in politics, film, art, and pop culture." I'm all for that I just don't like it when people go about it in stupid ways that leads to a loss of credibility in my eyes (which is really also my problem with PETA). But let's look at the poster. "Less than 3% of the artists in the Met. Museum are women but 83% of the nudes are female." Now, I know what the argument behind this poster is supposed to be: women are unfairly unrepresented in museums due to sexism. That's what they're trying to say but I feel they did it in a poor way. If you examine it more closely, you'll see that the statistics they have provided are completely irrelevant to their argument if examined in a logical way. 

The Metropolitan Museum of art is filled with art, thousands of years worth. It's a sad truth that women's rights have only really emerged in the past 100 years or so. It has been a male-dominated world for most of history. While there have always been female artists, historically they have either been outnumbered by men or overshadowed by men for whatever reason. I am an outsider to the art world and have only a very limited knowledge of art history. I have learned and heard about Dali, Rembrandt, Michelangelo, Picasso, Monet, and van Gogh and all the other "great" artists that everyone knows. The only notable female artists I can recall coming across are Georgia O'Keeffe and Frida Kahlo. Now my lack of knowledge can be the result of sexism in the art world or something else. Maybe the reason I don't know about many female artists is because they were ignored in their time. That is probably true to some extent. However, we cannot reconcile the prejudices of old. 

I find it perfectly reasonable that only most of the art in the Met is made by men. I believe that in history there have probably been a greater number of male artists (or at least a greater number of successful male artists) than female of artists in history. From what I have seen men have been the dominant cultural force in art. If this is not true then there must be a conspiracy amongst art historians. Do I believe that the curators of the Met purposefully left out art by females? No (but then again I may just be naive). Besides, should there be a quota for pieces of art by females? Would that accomplish anything? 

The next part that gets me is the fact that 83% of the nudes are females. Interesting, but irrelevant. In my mind this statistic was included to make an emotional connection to the subjection of women. But I know rhetoric when I see it. Let's see: most of the art is by men and a lot of men find the female figure beautiful so it only makes sense that most of the nudes would be female. Would it be less sexist if all the nudes were male? Probably not. The statistic is included merely as a rhetorical ploy to inflame emotions. Is celebrating the female body sexist? If so why do so many women like the Vagina Monlogues?

The point I'm trying to make that the two statistics really have no meaningful connection. "Do women have to be naked to get into U.S. museums?" Well I believe museums follow the policy of "no shirt, no shoes, no service". 

Maybe I'm completely wrong. Perhaps museum curators and popular historians have been hiding the truth. Maybe there have been just as many female artists as males who are just as capable and I'm just talking out of my ass.  That's extremely possible. The Guerrilla Girls may very well be on to something. I'm just always wary of rhetoric, whether it comes from right-wing pundits on Fox News or left-wing activist groups such as PETA. I think the Guerrilla Girls have a worthy cause, I just wish they didn't make it seem so petty.

Stickball

Worst. Survival instincts. Ever.

Product Placement

Creature Comforts

Movies: District 9

The previews definitely for this movie definitely caught my eye. Shot partly documentary-style, this movie is about the internment of aliens in a Johannesburg shanty town. It's easy to pick up on the racial undertones. Picture "Cry The Beloved Country" with lasers, kind of like Darth Vader meets Umfundisi (get it? they're both James Earl Jones). Except not at all. It's actually more like a sci-fi version of "Blood Diamond" with graphic violence. Not a bad movie.

Hiatus

On Sunday I'll be headed for a place the Internet can't find me: New Hampshire. So that means I won't be posting anything until August 22nd or later. So if you regularly check this then don't waste your time until the 22nd. Hopefully by then I'll have a surplus of comics. Maybe I won't. 

Party.

Album Review: "Can't Maintain" by Andrew Jackson Jihad

This band was brought to my attention by friend Sepanta and boy was it a good find. Andrew Jackson Jihad is a folk-punk band out of Arizona. Sean Bonnette plays guitar and provides lead vocals while Ben Gallaty plays upright bass. They formed in 2004 and started releasing recordings in 2005. 

Recently, I listened to their latest full-length album, Can't Maintain, which will be released in September. My first impression of Andrew Jackson Jihad was that they sounded like a mix between The Mountain Goats and Dead Kennedys. I sensed a bit of Neutral Milk Hotel folk-punk influence, which was reinforced when I saw one of their singles that featured a cover of "Two Headed Boy" and had artwork that took off the cover for In The Aeroplane Over The Sea. 

The album starts off with "Heartilation", one of the most straight-up punk tracks on the album. The vocals on this track, like many of the others, sound urgent and nervous, almost yelpy. "Love in the Time of Human Papillomavirus" is probably the most beautiful song on the album, with a somber string arrangement and female back-up vocals. The silliest song on the album goes to "Kazoo Sonata in C Major" which is exactly what is sounds like. Overall this is a good album. The lyrics are honest and sharp. Bonnette rips out his heart and slams it down over

every song. The music is bouncy and fun. Listen to it.

Andrew Jackson Jihad's website

Andrew Jihad Jackson on Myspace

The Thinker

Stickball

Assorted Nuts

Kong

Poetry Corner

A haiku for you

Romantic as skies are blue

Haiku rhymes with poo

Movies: Funny People

At first glance I thought this movie was going to be an Adam Sandler biography. However it is not. It follows a comedian whose career is similar to Sandler's and actually borrows real video footage of a younger Sandler. This is a funny movie. However, it is a little bit long and doesn't flow well. Some parts of the movie could've been longer, some parts could've been a lot shorter, and some parts could've gotten cut out. But the movie is carried a long by the comedy and there are a good supply of funny jokes from the cast. Another pleasant surprise is the abundance of cameos. 

Oh and this movie taught me something. Wilco, Wilco, Wilco will love you baby.

The Greatest Rock Band That Will Never Be

It's time for another supergroup that will never happen. This time I decided to make rock band entirely out of dead musicians. They're not the liveliest bunch (LOLZ) but hey they were pretty fresh when they weren't rotting in the ground. Freakishly enough, they all ended up having names that start with "J". Weird.

Vocals - Jeff Buckley

Now, sharing a list with classic rock icons, Jeff Buckley may seem out of place, seeing as how he didn't come until the 90's and he only had 1 studio album but he's dead so he fits the bill. I realized Jeff Buckley belonged at the helm of a rock band when I noticed that parts of "Mojo Pin" sounded like Led Zeppelin. He was a tremendous vocalist with a voice that was both beautiful and powerful. As the leader of my imaginary band he would break the taboo of the classic rock vocalist with the high-pitch half-scream voice. Though he was good at being soft and sensitive (see "Hallelujah") he also proved he could rock (see the road version of "Eternal Life" and "Kick Out The Jams"). He showed great talent in his songwriting and showed promise in the few recordings he left behind. His guitar abilities and his brooding good looks make him a no-brainer front man. If someone ever makes a Hollywood film about him, I would bet they cast James Franco in the leading role.

Guitar - Jimi Hendrix

I realize that Jimi was a front man but let's face it, his guitar did the real singing. Hendrix is widely considered by many to be the greatest guitarist in rock music history. While he was only active on the music scene for 4 years he was immensely influential on the rock world both as a musician and a producer. On the guitar he pioneered the use of amplifier feedback and helped to popularize the wah pedal. Not only did Hendrix have an extremely original and experimental lead guitar style, he also had a trademark style for rhythm guitar, which is perhaps what I am most fond of him for. His noodling-bluesy rhythm style has been emulated by guitarists like John Frusciante, Henry Garza, John Mayer, and at least half the people who pick up a Stratocaster. Plus his flamboyant psychedelic style made for a quintessential rock look. If I were to have any guitarist in my band it would be Jimi for sure.

Bass - John Entwistle

John Entwistle makes it in as the longest-lived musician on the list. While I've never been a fan of The Who, I must say that John Entwistle was an incredible bassist. He could do on bass what many people strive to do on guitar. People didn't call this guy "Thunderfingers" for nothing. The fingers on his right hand must've been beastly strong. Need proof? Check out this video

Drums - John Bonham

If you're going to pick a dead drummer for an imaginary rock band, it's got to be John Bonham. Known for his power and his quick right foot, "Bonzo'' was one of the greatest rock drummers of all time. Just listen to "Good Times, Bad Times." No, he's not using a double bass drum there. Without him, Led Zeppelin wouldn't have been half as good. His interplay with the rest of band and use of complex rhythms contributed to a unique sense of groove. There is no more solid base, no harder beat, to build a rock band on.

Well, there you go. That's my band and I'm sticking to it.

Jon Sigurdsson approves.