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alejandro and the boss

2008-04-22T09:35:00.002-05:00

for those of you who don't know alejandro, please know him. the texas rocker was brought up on stage by the boss at a gig in houston earlier this month and they played "always a friend" off of alejandro escavedo's upcoming record. the boss introduced alejandro by saying that he had been putting out good music for so long and his upcoming record was one of the best ever. alejandro said that being on stage with the boss was his best musical experience ever.

"you know me better" by roisin murphy

2008-03-12T07:55:00.000-05:00

this one's for all the art directors

the dirtbombs and a duck

2008-03-05T08:45:00.001-06:00

check out the dirtbombs website - with all the good information

favorite movies of 2007

2008-02-26T11:23:00.018-06:00

here are my favorite films of 2007 -

5 - "i'm not there" directed by todd haynes

i would have thrown up if the big studios would have made a bio-pic of bob dylan called "bob" or "blowin' in the wind: the bob dylan story". ray charles and johhny cash were no bob dylan, and "i'm not there" is no typical cinematic biography. haynes captured the essence of dylan - his mystery, his mastery, and his mythology. it is well documented that haynes employed six actors to portray one person, but that was the slightest of the directors risks when undertaking this film. it was said that bob dylan gave his blessing to this film without ever reading a script or treatment, but simply due to his respect of haynes' previous films. dylan's instincts were spot on. this is a film that will satisfy every dylan fanatic, intrigue those who have admired him, and confuse and baffle those who don't know dylan nor his music.

4 - "eastern promises" directed by david cronenberg

the latest piece from cronenberg and cinematographer collaborator peter suschitzky is a voyeuristic look into the russian mafia of london. while that tag alone may evoke images of epic gangster cliches, the truth is the film is so small in scope, and so subtle, that one may see the fantastic world of tatoo histories and eastern decadence as only a backdrop, to a personal interplay between viggo mortensen and naomi watts (both at the top of their game).

3 - "there will be blood" directed by paul thomas anderson

anderson's period piece set in the turn of the century american southwest, paints a desperate portrait of greed, capitalism, religion, and family, that founded the industrial united states. anderson, along with cinematographer robert elswit, radiohead guitarist jonny greenwood (who composed the score), and daniel day lewis, create haunting images, eerie realities, and prophetic landscapes that indict and provoke.

2 - "into the wild" directed by sean penn

alexander supertramp, is as powerful a figure of american isolation literature as holden caufield, dean moriarty, or billy pilgrim. deal is, supertramp was real. and penn's telling of his story, his search for truth, and his obedience to the examined life is handled with empathy and maturity. as fine a film as one may see and the camera was a well wielded weapon by penn and the gang.

1 - "no country for old men" directed by joel and ethan coen

this was the coen brothers, two of america's finest directors, at their best. starting with the source material, cormac mccarthy's novel was his most accessible to date, but still retained all of the moralist elements and social criticism that make mccarthy the greatest living author. than take roger deakins, seven time academy award nominated cinematographer, and wallow in his greatness for a while. add in an unexpected turn from javier bardem as anton chiguhr, great turns from josh brolin and tommy lee jones, and the most subtle and restrained directing the coens have demonstrated to date, and what you have is a masterpiece. a pure masterpiece.

"thou shalt always kill" by dan le sac VS scroobius pip

2008-02-11T16:19:00.000-06:00

le sac VS. pip myspace

"there will be blood" - by P.T. anderson

2008-01-28T18:54:00.001-06:00

chaplin, hitchcock, hawks, curtiz, welles, and wilder. coppola, capra, cassavetes and carne. those are the names associated with the auteur film theory with the academics. scorsese, scott (ridley - not tony), the brothers coen, rodreguiez, tarantino, altman and sayles are making names as the new auteurs. what is an auteur? it's complicated, but essentially it's the idea that the director, no matter the genre, is the primary vision or "author" of the film. there will be blood, the latest film from director p.t. anderson cements his position as a true auteur film-maker.

anderson's catalog includes his break-out hit boogie nights, the sweeping magnolia, and the sleeper punch-drunk love. his films have proved to be indicting commentaries on modern relationships and focus on characters who struggle to find community in a society full of characters who cannot find community.

there will be blood is an adaptation of the upton sinclair novel "oil" set in the turn of the century, oil thirsty, western, wastelands. it stars our generation's truest actor, daniel day-lewis as daniel plainview, an enigmatic "oil man" who along with his young son, canvas the west for families willing to let him suck the oil out of their land. after a mysterious messenger leads him to what may be the oil strike of the century, plainview sets down roots in the middle of an agriculturally barren community, with promises of wealth, education, and amenities. as with most stories, complications ensue.

anderson's ability to put his imprint on a period piece that is so diverse from his usual thematic and stylistic stomping grounds is what reveals his rightful claim to auteur status. he made the transition deftly to an epic adaptation of a world very different to the one he haunts. to many, that is the exact definition of a true cinematic author.

that is not to say however, that the movie was not stolen by two of it's prime collaborators, because it was. there will be blood in many ways was a character study, and without daniel day-lewis' steady, deliberate, and unflinching portrayal, we might not have had much of a character to study. in some ways, and maybe because of the breadth of the story, we are not privy to the inner workings of plainview's character. day-lewis however pulls of a remarkable feat by engaging the audience with his intensity and commitment to the role. with a story that was at times uneven, and a cast that was simply not his equal, his performance should be celebrated.

anderson also benefited greatly from the craftsmanship of cinematographer robert elswit. it was elswit who gave life to the barren surroundings and was constantly painting the portraits of the people and the land they inhabited. in many ways, his work on this film was reminiscent of nestor almendros' work on terrence malick's days of heaven, considered by many to be a masterpiece of cinematography.

anderson must be applauded for his inclusion of elswit and day-lewis. part of putting your stamp on any collaborative piece of art, is choosing your collaborators wisely, and if one wishes to transcend to the ranks of auteur, it would be wise to follow anderson's lead in his choice of friends.

"brighter than creation's dark" by the drive-by truckers

2008-01-25T15:04:00.000-06:00

it's been almost two years since the dbt's released a blessing and a curse, but our patience seems to have paid off. brighter than creation's dark may well be the bands consummated masterpiece. the promise they offered us in their first major label record southern rock opera has finally come to fruition. dark gives us honest storytelling, about character's on the fringe of society, soaked in soulful musicianship, blistering anthems for those who may have lost their way a time or two, and a couple of lamentations that will only leave the hardest of hearts with dry eyes.

one of the trucker's greatest strengths has been the collaborative nature of their song writing. patterson hood, mike cooley, and jason isbell have all taken their shots as lead tune-smith, and that has served them well. unfortunately, isbell left the band and struck out on his own. in his absence, bassist shonna tucker stepped up and filled the void, and offers one of the great surprises on the record - she can write and sing with the best of them.

the first five songs on the record are as good an introduction to these neo-southern rockers as you will ever get. the first song, two daughters and a beautiful wife is an acoustic piece written by hood, from a dead man's point of view as he worries about the family he left behind. death is a motif one will get acquainted with early and often around the dbt's. 3 dimes down is cooley's first contribution to the record, a well produced, groove machine about livin' hard. the righteous path is quintessential truckers, dealing with the tension between livin' right and livin' true. hood sings "trying to keep focused as we drive down the road / like we did back in high school before the world turned cold / now the brakes are thin and the curves are fast / we're trying to hold steady on the righteous path." the next song i'm sorry huston, introduces us to tucker the singer/song writer. it's a beautiful number highlighting new member and former star room boy john neff's slide guitar. and then cooley show's off his willie-esque songwriting abilities with perfect timing.

everything the dbt's are about, is represented well on dark. but this record, more than any previous, seems to be authored and executed by musicians who know exactly who they are, what they do well, and where they are headed. they abandoned some of their pop-ier numbers, partly due to isbell's exodus, and they have embraced the production process a little more in support of the sound. the 19 songs on the record are all thoughtfully laid out for our consumption, and sound as good as ever.

drive-by truckers on the world wide web

"who needs sleep?" directed by haskell wexler, asc

2008-01-18T16:12:00.000-06:00

on march 11, 1997, after working a 19 hour day on the set of "pleasantville", assistant cameraman brent hershman was killed after he fell asleep at the wheel on his way home from set. academy award winning cinematographer, and d.p. royalty, haskell wexler's "who needs sleep?" is an insiders quest to find out why the film industry continues to put it's work force at risk with unhealthy work hours, and who, if anybody, caries the moral obligation and authority to change the current work culture.

best known for lensing such canonical films as "one flew over the cuckoo's nest" and "who's afraid of virginia woolf?", wexler has also made a name for himself as an advocate. "who need's sleep?" was a seven year task for wexler, which includes interviews with everyone from script supervisors, electricians, gaffers, and their families, to informal chats between wexler and union heads, cinematographers, and stars like julia roberts and billy crystal. haskell's "godfather"-ish status in the industry, affords him access, candor, and authority to explore the topic. he himself has been a party as both a crew member, director, and producer on film sets where long hours were the norm.

after hershman's death, many in the industry, both above and below the line, publicly cried for reform. wexler's long-time friend, academy award winning cinematographer conrad hall, even went as far as to lead the movement by drafting a statement of reform that he wished to be adopted by the american society of cinematographers, the IATSE unions, and the screen, writers, and directors guilds. the amazing thing is, that despite unanimous consent, there was a reluctance to agree for civilized work practices, such as a 14 hour work day. motion pictures may be the only industry where the workers are fighting for a 14 hour work day.

wexler asks the questions that many are afraid to ask, for fear that they will not be hired on future projects. in the twilight of his career, wexler seems intent on not only leaving behind a beautiful catalogue of work behind him, but a legacy of reform. the film does not whine or complain, teach or stump, but instead is a brazen behind the scenes look at the brokenness of one of the most glamorous industries in the world.

12 on 12 off website

haskell wexler's personal website

some good records of '07

2008-01-14T14:41:00.000-06:00

ranking art is not my favorite thing to do, but it is fun to look back on the records that came out this year and ponder their significance. this year there were some great records. even while the major labels and the radio conglomerates peddled their hard to swallow and forgettable idols, internet and community radio (like radio paradise) spread the gospel of good music to those with open ears and open hearts. there was some good new music from legends levon helm and neil young, both of whom will never wallow in irrelevance - dinosaur jr. proved j. mascis is in fact a guitar god - and the bad plus' record "prog" is a must listen simply because they define their own genre of indie-jazz. there were some original new voices this year, like dr. dog, the national, and amy winehouse. there were also a couple of notable misses this year. son volt's "the search" didn't seem to come up with anything new. steve earle's "washington square" seemed to take steve into new and unproductive territory. that being said, here are my top ten records of the year... plus one. and also, spoon's "ga ga ga ga ga" was really good.

+1 - neil young "live at massey hall 1971" - it's not really from '07, but it's an incredible document from mr. young's archives. i've listened to a lot of neil solo and acoustic, but this one has cowgirl in the sand. it's always fun to listen to artists when they are on the verge - and that's where this re

cord takes us back to.

10 - okkervil river "the stage names" - will sheff sounds like he's finally gotten comfortable with his voice, and the songwriting is taught and sharp. john allyn smith sails is an ironic answer to the beach boys' sloop john b.

9 - rilo kiley "under the black

light" - there are many among us who believe jenny lewis to be the sexiest trick in shoe leather, and to not disappoint, rilo kiley's latest effort is a record about sex. but somehow, she doesn't make it sound like something anyone would want to have. this record is a sleazy romp with a disco beat. i'm not certain of how "blacklight" will stand up in their catalog, but for now, i sure enjoy listening to it.

8 - band of horses "cease to begin" - is it possible to be aggressive and laid back at the same time? i don't know if band of horses can still be considered southern since they now reside in seattle, but you can almost smell the magnolia's listening to their newest record. great harmonies and churning hooks propel this record beyond their peers.

7 - various artists "i'm not there" original soundtrack - eddie vedder, sonic youth, calexico, john doe, yo la tengo, iron & wine, jeff tweedy, mark lanegan, the hold steady, and cat power are among the many covering dylan. 'nough said.

6 - the new pornographers "challengers" - this record is not nearly as manic as "twin cinemas" and earlier efforts, which one might equate to saying there aren't as many drums in the latest "stomp" show. their manic energy has been a keystone to their sound. but challengers grows around mid-tempo songs that are as contemplative as anything on the market.

5 - nina nastasia & jim white "you follow me" - nina nastasia shares the credit with jim white, the dirty three drummer, not the "searching for the wrong eyed jesus" jim white. what results is a pensive, sleeper of a record with an impeccable rhythm. the only draw back is that it's only 31 minutes long. leave 'em wanting more i guess.

4 - bettye lavette "the scene of the crime" - after bettye's incredible come back, the joe henry produced "i've got my own hell to raise", bettye decided to go for the jugular. crime scene was recorded in muscle shoals and produced by the drive-by truckers' patterson hood, with the truckers and legend spooner oldham backing her up. the result is a hungry and dirty soul record that should leave most listeners in the fetal position.

3 - iron and wine "the shepherd's dog" - sam beam shed his sleepy, dreamlike meanderings, and awoke with a new, bluesier, grinder. he didn't loose his almost loop-able guitar riffs, or his grown in dirt aesthetic, but he did make an exciting record with as much groove as the stones. he also didn't loose his beard.

2 - wilco "sky blue sky" - the first studio output featuring the new lineup was a head scratcher. jeff tweedy and company composed some of the most subtle complexity imaginable. there is a real sense that they are masters of their craft, restraining themselves for the good of the whole. and by whole, i mean the whole damn world.

1 - arcade fire "neon bible" - arcade fire from montreal, shows exactly what a band that only obeys themselves is capable of. they do what they please. a haunting record with diverse instrumentation, stylized vocals, and obscure lyrics, bible never falls into the trap of being too hip, or too important. instead, they simply challenge listeners to follow the soundtrack to their minds. the greatest example of indie art in a long time.

into the wild - sean penn

2007-11-02T14:17:00.000-05:00

"into the wild" directed by sean penn, and photographed by eric gautier, is a transcendent telling of the true story of christopher mccandless, a suburban kid with a broken soul and an addiction to truth. a film with such lofty ambitions could easily stumble over it's own self importance, but penn, paints a subtle portrait, with easy brush strokes that highlight the borders between heaven and hell - between isolationism and community, and between the forgiven and the forgotten.

mccandless, given life by the finely crafted performance of emile hirsch, heads out into the fringes of america after graduating college, in pursuit of a deeper truth to life. what could be conceived as a walden-esque head trip, is given traction by mccandless' intense obedience to transformation. "alexander supertramp" (the name he gives to himself) grows with each step of the journey. it would appear that supertramp's goal is not to simply change the world by changing everyone in it, but rather, he wishes to change the world by changing himself. a novel approach.

the film is wonderfully scored by eddie vedder, and gautier's cinematography is remarkable, choosing to shoot so much of the personal details in painful close-ups, in stark contrast to the wide panoramic views of location shooting in remote locals like the salton sea, the grand canyon, and most notably, alaska. it could be argued that the message of the film was a little heavy handed, but christopher mccandless' life was a little heavy handed. if one walks away from the film with as much appreciation for penn's voice as mccandless', justice will be served.

the amen break

2007-11-02T13:35:00.000-05:00

great documentary detailing 6 of the most fascinating seconds in music.

coming back soon

2007-10-29T20:42:00.000-05:00

sorry for the lay-off -

wlr is back up and on-line.

for now, enjoy a photograph of patterson hood from the drive-by truckers at a recent gig in lawrence, ks.

check back soon.

"sky blue sky" by wilco

2007-05-15T17:38:00.000-05:00

it would seem that jeff tweedy, founder and leader of wilco, america's most compelling band, has found a little space to breathe. after battling bouts of depression, chemical dependence, and migraines, feuding with band mates and labels, and fielding the burden of once being the reluctant architect of alt-country and the godhead of the avant-garde at the same time, he has settled into a place of peace and found a little space to create a sublime record that is both reflective and stable. "sky blue sky", the bands sixth proper studio album, is a respite in the frantic musical catalog that has brought the band to the forefront of the dialogue concerning the future of rock and roll.

while wilco has changed styles as often as line-ups, it would appear that they have rested on at least one account; the roster. the new record features original members tweedy and john stirratt (bass), as well as glenn kotche (drums), mike jorgensen (keyboards), multi-instrumentalist pat sansone and guitar hero nels cline. the voice however, is a reach back to laurel canyon, sun drenched, country rock, that may come as a surprise to those who have known the band to be on the leading fringe of pop-experiementalism. but they come by that sound honestly, with a musical lineage that is more beholden to gram parsons and the beach boys than brian eno and the mothers of invention.

the instrumentation on the record alone suggests a reach back to a more organic genesis than the electronic noise of the critics choice "yankee hotel foxtrot" and the sprawling kraut rock influenced "a ghost is born." sky blue abandons for the most part the lap tops in favor of the lap steel, as well as acoustic guitars and gentle organs, while attempting to engage with wilting, melodic diddy's like the title track, that suggest the band is coming up for air. tweedy echos those sentiments in lyrics: "oh i didn't die / i should be satisfied / i survived / it's good enough for now."

"what light" studio performance

the record also features some more soulful numbers that hearken back to the "being there" era with songs like "walken" and "side with the seeds." but make no mistake, cline and kotche take their shots at injecting a dose of deconstruction into the standard and familiar. years from now, it may be that "sky blue sky" is an overlooked record in wilco's workbook. it doesn't have the mesmerizing numbers that were found on their last two studio outputs, the alert urgency of their live album, or the poppy hooks and accessible tunes of their earlier records, but what it does offer, is a sweet soundtrack for those looking to reflect on a hectic existence without loosing their desire to live with tension.

wilco world

"we all belong" by dr. dog

2007-04-17T11:17:00.000-05:00

they tell us of the days when the beatles and the beach boys put out records one after the other, each outfit trying to out-studio the other, and they say they were the magic days of rock-n-roll. all the meanwhile, john, paul, george, ringo, and brian wilson kept a keen eye on how bob dylan's backups were collaborating, and it caused them to engage in envy. now, there is a group of musicians in philadelphia, with a great record collection, adding their response to the rock-n-roll lexicon. dr. dog's latest record "we all belong" hearkens back to the beatles, the beach boys, and the band, without loosing sense of the times they live in. they employ live sounding production qualities, with meticulous and spot on restraint. the result is a calculated grouping of songs that sound organic and free without meandering off coarse. dr. dog proves that there is a place for the indie-rock aesthetic in our influences, and they lead us to believe that as long as there is still rock-n-roll, there are still "magic days."

dr. dog on the web

kurt vonnegut (1922 - 2007)

2007-04-13T00:17:00.000-05:00

"no matter how corrupt, greedy and heartless, our government, our coorporations, our media and our religious and charitable institutions may become, the music will still be wonderful. if i should ever die, god forbid, let this be my epitaph: THE ONLY PROOF HE NEEDED FOR THE EXISTENCE OF GOD WAS MUSIC"
- kv

"because of the times" by kings of leon

2007-04-11T09:27:00.000-05:00

there is a lot of mythology concerning the origins of the followill clan. a brief biography of the brothers and cousin reads like great southern fiction, complete with pentacostal tent meetings, scandal, and prodigal sons. at one point the boys declared that they were discouraged from listening to "secular" music, and the first record of "the devil's music" they ever listened to was their own. after hearing their first record "youth and young manhood" however, it became obvious that somebody had snuck the preacher's kids "sticky fingers", "damn the torpedos", and "rust never sleeps." it was like the scene in "close encounters of the third kind," when the scientists discovered the missing airplains in the mexican desert. the kings of leon seemed to have stepped out of a time warp, as primitive artists, with a chip on their shoulders and something to prove.

their latest effort, "because of the times" is a nice step in the maturation process. it sounds as if they have been exposed to a few new influences, captured a modern sensibility, and yet decided that they still hadn't heard anything better than the stones, neil, petty, and themselves. the record is darker than previous releases, and as crazy as it sounds, a little more aggressive and contemplative at the same time. lyrically, they have sharpened their "less is more" approach to storytelling. caleb followill tends to dwell on carefully chosen lines and throw away gratuitous notions. the boys have grown up in many ways, and the journey continues.

kings of leon website

american music - by annie leibovitz

2007-02-21T09:17:00.000-06:00

pete seeger's weapon of choice

check out this incredible collection of celebrated photographer annie leibovitz's work.

index from andrew smith gallery show in 2004

buy the american music book at amazon

tv on the radio

2007-02-21T09:02:00.000-06:00

tv on the radio is an exciting emerging influence out of brooklyn. check 'em out.

band's website

interesting tvotr interview with arthur mag

"kockroach" by tyler knox

2007-02-19T12:33:00.000-06:00

tyler knox's novel about a cockroach evolving and molting into a human offers a reminder to us, through the art of storytelling, about what makes us distinctly human; the art of storytelling. the split narration bounces back and forth between the colorful, jazz-fueled vernacular of a small time new york city hustler that goes by the name "mite", and the relentless, almost scientific detailing of an omniscient voice. it's mite's storytelling, that makes us aware that somewhere between reality, and science, and art, and religion, there is story - where colorful characters are allowed to succeed and fail (but mostly fail), and sensation is given power to teach.

the story begins in mid-50's new york city, and follows the engaging transmutation of the title character. the "ribbons of possibility" open up before us early, and the promise of a stellar pay-off dangles before us, but the conclusions, much like life itself, are less than revolutionary. the characters are rich and the world they inhabit is vibrant, but the insights fall flat and trite. that is not to say however that the book does not warrent your attention. the journey is well worth the ride, even if the destination is not inspired.

excellent website to introduce the novel to you

babel - directed by alejandro gonzález iñárritu

2007-02-12T08:27:00.000-06:00

much like he did in his previous film 21 grams, gonzález iñárritu demonstrates in his latest film "babel" that the way a story is told, is every bit as important as the story itself. the mexican director employs the use of a non-linear narrative to tell a complex story with a global scope, all the meanwhile, never loosing sight of the subtle arcs in the seemingly disperate lives of the characters. there is a challenge to the audience of "babel" to engage with the plot, because of the story's indifference to space and time. there is no implicit chronology of events, and the geography, in a story that takes place in mexico, tokyo, morocco, and san diego, is disarticulate.
not to be lost in the conversation regarding the deft storytelling, is the story itself. "babel" is an unnerving exploration of how events that occur on the other side of the planet, can have an immediate impact on our own lives. without being overly didactic or proselytizing, the film challenges the bifurcation of two of our culture's most heated issues: foreign policy, and the raising of our children.

"let's get out of this country" by camera obscura

2007-01-30T10:15:00.000-06:00

there is something familiar about tracyanne campbell's songs, something it seems that maybe we've heard before. that is not to say that they are not original, or fresh, because in fact they are wonderfully innovative. it's just that the melancholy, restlesness, and reverie she evokes, with her lilting voice, pitch perfect melodies, and honeyed instrumentation are universal. the majority of the record deals with relationships, and mainly, relationships on the outs. "tell me where it all went wrong / maybe i can make it better" she sings in "if looks could kill," a promise made to a boyfriend in a relationship in limbo. there really isn't a song on the record that doesn't sound like something franz, arthur, and odile would dance to in the film "bande a part." a wonderful listen that is best served in the dark.

band's website

sherrybaby - directed by laurrie collyer

2007-01-26T19:35:00.000-06:00

"sherrybaby" staring maggie gyllenhaal, introduces us to sherry swanson, a recent paroled inmate and recovering heroine addict who is trying to re-enter the real world to become available to her five year old daughter. sherry's life is strewn with lecherous encounters with men, and her journey to normalcy forces her to face reality head on. it would be easy to treat such material with sentimentality and put a polish on the "girl with the heart of gold." but this film displays the road ahead in a small and simple way. there are many awkward moments in this film that subtly reveal sherry's transformation without opening every motivation and desire to the audience. gyllenhaal, one of the most complex young actresses to be emulsified in years, is sublime. she gives a wonderful voice to a train wreck of a character, which allows us to become the biggest advocates for sherry's transcendence.

just a reminder

2007-01-16T15:31:00.000-06:00

"no country for old men" - cormac mccarthy

2007-01-04T23:22:00.000-06:00

how does a man decide in what order to abandon his life?

mccarthy's novel set in the present day borderland between texas and mexico, dances with the notion that the end is near, and there ain't a damn thing you can do 'bout it. in a world where mammon runs wild with kids with blue hair and bones sticking out of their noses, and dope runners make the rules in a society where people's daddy's and their daddy's daddy worked to make a promise regarding the hope and imagination of elysium, mccarthy sets the events in motion that will be as important to literature as they will to the progression of relevant philosophy. "no country" has little room for decisions to be made, only reactions, reactions that prey on the very guttural instincts and beliefs that even the most red-stated individuals base their lives upon. if bill shakespeare, st. john, and johnny sartre got together, they couldn't come up with a more substantial parable for our world today.

"magnolia" revisited

2007-01-02T10:39:00.000-06:00

"i don't deny that there should be priests to remind men that they will one day die. i only say it is necessary to have another kind of priests, called poets, actually to remind men that they are not dead yet." - g.k. chesterton

"without tradition, art is a flock of sheep without a shepherd. without innovation, it is a corpse." - winston churchill

last night, i watched the film "magnolia" from director p.t. anderson for the first time since seeing it at the theatre in 1999. i couldn't help but remember the impression it left on me back then. from the opening narration regarding the improbability of chance, to the common refrain sung by the characters, to the plague of frogs, to the end credits, i was captured. it was as if i was watching a birth, or discovering a new land. to me, it was one of the most obedient displays of creativity captured on film that i had ever seen. there were no compromises.

anderson, more so than any other american director i can think of, embodies the role of poet as a filmmaker. he juxtaposed youth and death, sin and salvation, love and contempt, chance and fate, and hope and despair, in the context of both absurdity and reality. without flinching, he propelled characters through a universe that all at the same time, made no sense, and yet was laced with providence and meaning.

there wasn't a single character that had a hold of certainty. every one of his characters could be described as devastated by the labor of life. "life isn't short. it's long," was uttered. and despite that, anderson created a scenario where redemption and restoration came through the common union of people whose lives impact those around him. he demonstrated an influence of existence. a world where strangers, are not strange. a portrait of humanity that diminishes the ideal of happiness, with one of responsibility to each other.

it has been said that historians help us know the common lessons of the past, but poets help us feel the common lessons of humanity. "magnolia" is an excellent example of the emotive nature of cinema.

my favorites of 2006

2006-12-15T13:18:00.000-06:00

i'm not certain that art can be qualified. i'm not a huge believer in "best of" lists or art being awarded trophies. that being said, i do like the idea of reflecting on the year's artistic output and listing some of my favorites. so here they are.

movies

"the proposition" directed by john hillcoat
this is an incredible film written by nick cave. it is one of the most evil films i have ever seen, and also, one of the most beautiful. it is haunting and provoking. check out my write-up on it in my archives.

also,
"stranger than fiction" directed by marc forster
"the departed" directed by martin scorsese
"the last king of scotland" by kevin macdonald
"babel" by alejandro gonzález iñárritu
"dave chappelle's block party" directed by michel gondry
"little miss sunshine" directed by dayton / faris

records

"roots & crowns" by califone
the music defies description, but this record may be this creative bands best yet. maybe. think brian eno going into the studio with ralph stanley.

also,
"nuclear daydream" by joseph arthur
"nashville" by solomon burke
"begin to hope" by regina spektor
"let's get out of this country" by camera obscura
"the loon" by tapes n' tapes
"the brave and the bold" tortoise and bonnie "prince" billy
"a blessing and a curse" by the drive-by truckers
"i'm not afraid of you and i will beat your ass" by yo la tengo
"modern times" by bob dylan
"boys and girls in america" by the hold steady
"the boxing mirror" by alejandro escovedo

letters

"what is the what" by dave eggers
an important story written by an author with a redemptive agenda. it is also reported that the proceeds from the book will go to valentino achak deng foundation, to help restore sudan and it's refugees. buy it for that alone. read it to become a better person.

also,
"the road" by cormac mccarthy
"the driftless area" by tom drury

joseph arthur - nuclear daydream

2006-11-21T20:27:00.000-06:00

a great record. paste magazine said - “Black Lexus,” seems inspired by Neil Young’s “After the Gold Rush,” sounding like something the former inhabitants of Earth might sing when their silver seed touches down on their new home atop the sun - about the second song. after reading that, i bought the record, and they nailed it.

tapes and tapes - the loon

2006-09-15T20:34:00.000-05:00

these guys are the hope of indie rock. they show their influences on their sleeves, but at least their influences are bands like pavement and the pixies. it is fun to hear honest to god, real rock and roll coming out of the basement again.

tapes and tapes myspace

debarge in charge

pitchfork media.com review

art and 9/11

2006-09-10T09:11:00.000-05:00

slate magazine marked the 5th anniversary of 9/11 by asking some very thoughtful individuals what work of art or literature has helped them make sense of the attacks and the world since.

check out the slate article here

here is my answer to that question:
"yankee hotel foxtrot" by wilco
this record was penned and recorded before the tragedy, but there is an eerie prophetic poignancy which runs through the record. even the cover eludes to the twin towers, and the heartbreaking song "ashes of american flags" proved to be a jeremiah-like lamentation on the newfound world in which the record was released. tweedy sang, "all my lies are always wishes / i know i would die if i could come back new." on tweedy's "jesus, etc." he sings "tall buildings shake / voices escape singing sad sad songs." the whole record is not as somber, but it was and continues to be a soundtrack to my feelings regarding that terrible day.

"culture jam: how to reverse america's suicidal consumer binge - and why we must" by kalle lasn

when i first read this book in 2000, it hit me like a blackjack. it was one of the first times that a book caused me to tremble. as i was driving to lawrence, kansas on september 11, 2001, listening to the radio reports of what was happening in new york and washington d.c., i couldn't help but think about "culture jam." in 1999, klasn wrote, "the earth can no longer support the lifestyle of the coolhunting american-style consumer. we have sought, bought, spewed and devoured too much, too fast, too brazenly, and now we're about to pay."

"everyday" by noah k

2006-09-02T13:32:00.000-05:00

check this amazing piece out. incredible discipline. six years in the making.

everyday on Vimeo

"the descent" - directed by neil marshall

2006-08-23T23:03:00.000-05:00

the english film "the descent" directed by neil marshall is as good of a spine tingler as you will see this year. it is a film that not only preys on claustrophobia, but also on our fear of the unknown. marshall shows great skill in directing suspense, as well as mastering the long lost art of subtlety. there are characters in "the descent" that are well rounded, realistic, and flawed. there is no villain that elicits "boos" from the crowd and no heroes that elicit cheers. the production quality is superb and the mise-en-scene is actually quite stunning. it is an example in deft story telling that will cause many to reach for their zanex.

in this story, six friends embark on a journey that takes them much further below the surface than they anticipated. these friends, addicted to the natural highs of white water rafting, base jumping, and mountain climbing, try their hands at spelunking (exploring underground caves). in the midst of conquering their fears and claustrophobia, they stumble upon something they never could have expected.

sound good? well here's the twist. they are all women. some of them middle aged. and what may be one of the most gigantic leaps for woman-kind is that the script doesn't even acknowledge their gender. there is no feminist undercurrent, there is no "thelma and louise" moment, and there is no mention of menstruation, menopause, lying men, or sisterhood in the whole damn thing. it is just a story about six people going into the depths of the earth and facing their worst fears.

robert mckee in his book "story" says that every story can be summed up with a single proposition; "what if...?" like "what if an american archeologist had the drop on the ark of the covenant and had to retrieve it before the nazis?" (raiders of the lost ark) or "what if a man dressed up as a woman to land a role on a soap opera?" (tootsie). this movie could be proposed as "what if six people who loved adventure went spelunking in the appalachian mountains and came face to face with something other than themselves?" notice, there is no mention of the word "woman" in that proposition. if all of the women characters were replaced with men, the movie still works.

in the history of african-american images on film, it can be said that the african-american character in most films is exactly that, african-american. very rarely, and not at all until recently, was there a black man who played a cop. he played a black cop. there were no black women who played mothers, they were black mothers. and there were no black actors who played athletes, entertainers, best friends, neighbors, firemen, preachers, or lawyers, without their blackness being incorporated into the script. "the descent" is a movie about a group of friends that go spelunking. they just happen to be women.

pretty freaky site from lions gate

imdb listing

"the bird is a raven" - by benjamin lebert

2006-08-15T09:45:00.000-05:00

coming of age stories are often bittersweet. it is almost impossible to tell the stories of youth without nestling angst and confusion with love and mystery. "the bird is a raven," 24 year old benjamin lebert's sophomore novel, somehow tells a radically different tale, a passage into adulthood marred by nothing but existentialist contempt. it is a brutal story within a story that lacks the filter of wisdom and the lens of experience, but none the less, reveals compelling truth.

lebert, as gifted a young author as you may read today, explores a fetching narrative revolving around two young characters, henry and paul, who meet in a sleeper car on a train bound for berlin. while traveling, henry tells the story of a complicated triangular friendship that he is running away from. henry's candor is unsettling, and at times, unbelievable. intertwined in the telling are conversations between henry and paul revolving around the philosophic, touching on everything from god, the passage of time, sex, hatred, sickness and loneliness. their thoughts are developed and well expressed, but tend to fall too easily into the mix. it would be a nice turn if some of those thoughts were shown to the reader instead of penned.

being so young gives lebert the advantage of actually having his hand on the subject material. it is one thing when a forty year old man writes of youth. it is quite another when the voice is currently in the thick of it. lebert shows incredible promise. his narrative style while not entirely original, is fresh, and his characters do invite attention. at one point in the story, harry talks about how as a kid, he always imagined that his life was being followed by interested parties. that the ups and downs of his life were being tracked by people who hoped for the best for him and felt bruised by his disappointments, much like the readers of a book. lebert's characters achieve that sentiment in "the bird is a raven."

get "the bird is a raven" at powell's

michael mann - who's on the phone?

2006-08-09T20:06:00.000-05:00

michael mann tells stories. he tells them with motion pictures that look like still photographs. he developes characters with camera angles, low key lighting, electric guitars and carefully art directed environments. he sheds light on the hearts of men at night time, when most people are lurking in shadows and indulging their flesh. his characters experience epiphany near water, or in front of metalic buildings. and he is not afraid to argue that bad men are good, and good men are bad. and he almost always tells stories about women who are looking to save those men and be saved by them.

imdb listing

mogwai "mr. beast"

2006-07-02T23:37:00.000-05:00

post-rock takes many of it's collective cues from brian eno's school of ambient music. "mr. beast", mogwai's latest effort, is no exception. instead of creating moods by eliminating tension, mogwai, like eno, tend to dwell on counterpoints natural to melody and rhythm. heavily produced, this record plays out like a collision between "siamese dream" and "here come the warm jets." the scottish quintet uses quaint piano lines to play against soaring, bob mould-ish, guitar overtures, to create music that not only evokes a place or time, but also engages the listener. great record.

official site

what is post-rock?

the proposition

2006-06-22T12:47:00.000-05:00

what happens to people that god forgets? "the proposition" a stunning australian film written by musician nick cave and directed by john hillcoat, cannot answer that question, but attempts to at least show us the residue of godlessness, and provokes the imagination to consider what hell looks, smells, sounds, and tastes like. this feral yet poetic western, which takes place in the australian outback circa 1880, juxtaposes civility with vileness, beauty with the revolting, sentiment with contempt, and compassion with misanthrope.

guy pearce ("momento" and "l.a. confidential") portrayed charlie burns, an irish outlaw at odds with not only the english colonists seeking to bring refinement to the aboriginal land, but also with his brother and his gang, arthur burns, a john the baptist meets charles manson type figure living in the wilderness, played to perfection by danny huston ("the constant gardner" and "21 grams"). the proposition raised by captain stanley (ray winstone) is simple: kill your brother arthur for the crimes he has committed, or watch your innocent, young, naive, brother, hang for those crimes. it's not so much a proposition but an ultimatum. regardless, the rest of the film spirals through hell in a manor that would leave william shakespeare wanting.

some have called this a "violent" western. maybe more "violent" than peckinpah or leone. i'm not sure how to quantify violence, but i can say that this film depicts an evil i have seldom encountered. for those who believe that the kingdom of god is at hand, it must also be considered that hell is lurking in the shadows as well. in the midst of high tea, rose bushes, fine china, green christmas trees, and the delicate features of martha stanley (emily watson), hell manifests itself with the constant buzz of biting flies, decomposing meat, primal urges, and drunken debauchery. poetry that would make an angel weep, is spouted before execrable acts that would cause a demon to cry.

in errol morris' documentary "the fog of war", robert macnamara's ninth lesson is "in order to do good, you may have to engage in evil." "the proposition" is an excellent anecdote in this principal. without being dogmatic or didactic, cave and hillcoat put shoe leather to the means which lead to an end. make no mistake, this film is not guided by moralism or principal. it is a lens through which the world is viewed, that does not make sense, have conclusion, redemption, or epiphany. it however does lead one down a path of reflection, and ultimately, what more can one ask for.

this is a startling film, that deserves attention. it is full of beautiful imagery, craftful cinematography, skillful acting, and a haunting soundtrack as one might expect (not only from nick cave, but also from jim white). enter it ready to be engaged, repulsed, and provoked. westerns as a genre, much like zombie films, are often parallels to the culture in which they are made. "the proposition" is no exception. this film will take it's place along side "high noon," "the man who shot liberty valance," "the wild bunch" and "the good, the bad, and the ugly."

official site

nick cave on-line

fog of war lesson plan pdf

walker evans photograph

2006-06-17T14:34:00.000-05:00

click here

please know harold bloom

2006-06-16T17:30:00.000-05:00

"i have only three criteria for what i go on reading and teaching: aesthetic splendor, intellectual power, wisdom." - from harold bloom's book "where shall wisdom be found?"

harold bloom, currently the sterling professor of the humanities at yale university, has taken upon himself a daunting task. it has been his quest to make sense of and canonize the thought that has shaped and influenced our western culture. bloom is considered by all to be the most important literary critic of our time, changing the very face of criticism, redirecting it's trace away from popular theories like those of new-historicists or post-modernist, to a lasting aesthetic criticism, that will not bend to fashionable trends. bloom's theories of literary criticism not only rival the scientific revolutions of einstein and hume, the philosophical contributions of kant and nietzsche, the technological advances of savery, ford, bill gates, and steve jobs, and the literary offerings of shakespeare and beckett, but also synthesize them in light of their inter-relation to one another.

bloom was born in the bronx in 1930 in a yiddish speaking household. while studying at cornell university, his mentor and professor m.h. abrams, the founder and general editor of the "norton anthology of english literature," described bloom as "a "fearsome" student, and "gifted beyond anybody I'd ever seen. he had that extraordinary ability to read a book almost as fast as you can turn the pages, not only to read it but to practically memorize it" (wikipedia). to whom much is given, much is required, and bloom acquiesced to the categorical imperative.

in 1992, bloom wrote "the american religion" which compared many of the protestant and post-protestant religions in the united states, and argued that they shared more in common with gnosticism than historical christianity. after that controversial splash, bloom wrote "the western cannon" an ambitious attempt to stamp authors, work, and thought as divinatory.

bloom's "western cannon" may have offended many due to it's hubristic nature, but it was welcomed by almost everyone familiar with the work and bloom's reputation as a definitive landmark and necessary tool for understanding the paradigm in which we live. obviously bloom paid considerable attention to shakespeare, (so much so that on my first reading i summed up his work with, "he basically says that all of western thought begins and ends with bill" - i am embarrassed by my assessment today). but he also deliberately accompanied the humanities through an aesthetic lens coherent with his literary theory.

bloom argued that samuel beckett was the most powerful living author of his time. curently, he reserves that distinction for jose saramago (beckett died in 1989). "in 2003 bloom said that "there are four living american novelists i know of who are still at work and who deserve our praise". claiming "they write the style of our age, each has composed canonical works," he identified them as thomas pynchon, philip roth, cormac mccarthy and don delillo. he named their strongest works as "gravity's rainbow" and "mason & dixon", "american pastoral" and "sabbath's theater", "blood meridian", and "underworld." he has also praised fantasy writer john crowley as these writers' equal and especially his novel "little, big" (wikipedia).

in what might be considered a defense of his western cannon, bloom released in 2000 "what to read and why." it has proven to be a very helpful tool in understanding and appreciating literature, philosophy, and thought, through our current cultural world view. bloom requires faith and trust, but it has been earned and legitimized. it would behoove us all to become familiar with harold bloom (instead of oprah).

an on-line list of bloom's cannon

get bloom books at powell's

traktor can very well some day, rule the world

2006-06-05T18:24:00.000-05:00

this is one of my favorite all time music videos. traktor directs. check out their website to see more of their music videos and television commercials. if you only have one minute, watch "angry beaver."

traktor website

ingram

2006-06-05T01:02:00.000-05:00

gram died the year i was born. we shared the same earth for six months. for that i am thankful.

click here

lilly pad

2006-05-29T15:53:00.000-05:00

taken in kansas city in july of '05

the kids, they love the jon dee graham

2006-05-29T15:22:00.000-05:00

jon dee smokes american spirit blue cigarettes. he smokes a lot of them. his songs, which cover a lot of ground, starting in dark corners, swelling to majestic bluffs, and receding back into the crevices of battered hearts, are sometimes too long for jon dee to wait until they are done to blaze up another smoke. his voice sounds like cancer. it's deep and gravelly, and it rumbles over lyrics like a mudslide. it's changed a lot since his days with the true believers. it's gotten a little deeper, and a little slower, but it commands attention and demands respect. maybe that's why my four year old boy loves to listen too him. "his voice is scary daddy," he told me one night while listening to "the great battle." "he sounds like a bad man," he said. "but he's a good man isn't he?" he asked. i reassured him that you could not determine the character of a man by his vocal stylings, but i did let him know that as far as i was concerned, jon dee graham is a wonderful gift.

jon dee on the world wide web

why the band is the band

2006-05-09T20:16:00.000-05:00

what makes a band? the dictionary reads that a band is "a group of people who have a common interest or purpose." the dictionary elaborates and says that a band is "a group of musicians who play together, in particular." i argue that a band is simply community. community is defined as "a group of people living in one place, esp. one practicing common ownership." so what would allow a group of musicians to declare themselves not only a band, but "the band"? and how would a group of musicians playing together, in particular, come to define what it meant to play in a band, or better yet, the band?

the genesis of the band was that of a backup band. in the late 50's, ronnie hawkins took his band, the hawks, from the american south to toronto, canada, where they played juke joints, bars, concert halls and the like. they built up such a following that ronnie hawkins and the hawks were often called the candadian version of elvis, scotty and bill. eventually, all of the hawks except one, levon helm, were changed out for canadian musicians. when all the dust had settled, the hawks comprised of helm, garth hudson, robbie robertson, rick danko, and richard manuel. a rift began to form between the outgoing, show-stealing, ego centered (according to some) ronnie hawkins, and the band. hawkins soon found himself the odd man out in his own creation.

shortly after the disintegration of ronnie hawkins' rock-and-roll outfit, the surviving members of the hawks, were pegged to back up bob dylan in his controversial movement towards electrified folk music. obviously in the early sixties, there were few individual voices quite as loud as dylan's, so the band took him up on his offer, and became synonymous with the troubadour's metamorphosis, touring behind the legend and giving a new interpretation to his songs. dylan, so accustomed to playing by himself, challenged the band to follow his improvisational and spirit inspired meanderings. dylan and the band were on the same page in some of the founding moments of modern rock-and-roll. after their rumored recordings together were confirmed by bootlegged copies of what eventually was released as "the basement tapes," the band were primed to strike out on their own.

the band released their first record as the band, "music from the big pink" (named for the house where "the basement tapes" were recorded) under nobody's leadership but their own. bruce eder of the all music guide wrote that "it was as though psychedelia, and the so-called british Invasion, had never happened; the group played and sang like five distinct individuals working toward the same goal, not mixing together smoothly. there was a collective sound to "the band," but it made up five distinct individual voices and instruments mixing folk, blues, gospel, r&b, classical, and rock & roll." literally, "music from the big pink" defined community. they were a group of people, all living together in the same place, with common ownership over the music.

all of the members took part in writing the music. they were not lead by anyone except themselves. if one of the members could have been pointed to as the lead man it would have been robertson, who did not sing the very songs he wrote. vocally, the band did not use harmony as much as they used discordance. at any given moment, one could make out the gruff drawl of helm, the pining beauty of manuel, or the subtle sweetness of danko. it was not as if they homogenized their style to achieve a singular purpose, but instead, they celebrated their differences to bring impact.

at one point in their lives, every member of the beatles went on record as saying that they wished that they were a member of the band. in retrospect, it is easy to see that john lennon and paul mccartney would have been attracted to an atmosphere where collaboration did not necessitate compromise. to be fair, creative differences enacted their damage to the band the same way it does to most bands. eventually, the band evolved into a collective of individuals who did not take common ownership, and whose differences became too much for them to collectively overcome. but for a few brilliant years, we were given a glimpse of pure community and a definition of what it meant to be part of a band.

john fahey - "the transfiguration of blind joe death"

2006-05-09T15:08:00.000-05:00

this record from 1965 is a sterling example of what the late fahey described as "american primitive music." it is a finger-picking bible of sorts, and has been the inspiration to an unlikely circle of musicians, including thurston moore, howe gelb, cul de sac, and others. fahey twists hillbilly music, acoustic blues, jazz, and ragtime, to form a sculpture all his own. if ever there was an instrumental record that revealed so much about the character of the musician, this is it. fahey puts sounds to irony, sarcasm, desperation, bitterness, and joy.

an interesting side note: the album cover was featured prominently in stanley kubrick's film "a clockwork orange." look for it.

to learn more about john fahey, click here, and visit his website

seeing by jose saramago

2006-05-05T17:55:00.000-05:00

this is a companion piece to the portuguese nobel prize winner's earlier work "blindness." his sparse and simple approach to telling stories absolutely blind sides you with his complicated insight. this book is a political fable that tells the story of a country's election mishaps, and ensuing isolation. many have called saramago a modern day kafka. it would help to read "blindness" first, but not essential.

saramago biography at nobel prize.org

buy "seeing" from the tattered cover online

the bad plus talk equals good

2006-04-28T12:35:00.000-05:00

it has to be good whenever anyone talks about jazz these days. especially, when people are talking about jazz artists that are making a name for themselves in a post-fusion world. one of the bands that seems to garner a lion's share of the conversation is the bad plus, an unconventional piano trio who has been making waves ever since their first major label record "these are the vistas" (2003 - columbia records). the very element of their music that makes them so compelling, is the same element that makes them a lightening rod for controversy.

the bad plus in many ways are a rock band. that is not to say that they are not a jazz combo, because they are, with shades of coltrane and ornette, but it is to say that they are as much a rock band as they are a jazz band. but here's the catch: they are not a rock influenced jazz band, they are an indie-rock influenced jazz band. their last three records were all produced by tchad blake (notable producer of tom waits, elvis costello, los lobos, and the pearl jam among others). blake has pulled out the most essential, punk rock aesthetic from the bad plus' instrumentation, leading what may be one of the most giant leaps in jazz-kind since "bitches brew."

a lot of what is said about the bad plus is confirmation of their talent, their direction, and their importance. but it is almost impossible to speak of them without mentioning the jazz purists who feel that their sound is "unnatural" or somehow "not valid" as "true jazz." i would contend that those of said opinion, are simply not relevant. if somebody is not able to recognize a paradigm shift in music as it is happening, they relegate themselves to the role of historians, confined to see the world through the restrictions of their own generational lens.

the bad plus, reid anderson on bass, ethan iverson on piano, and david king on drums, may not be relevant to those who are still trying to come to grips with coltrane, ornette, and miles, but i am certain that they will still be relevant when my children choose to explore jazz music. keep it up. keep talking. keep mentioning jazz.

the bad plus website

the sony bravia ad (bouncy balls)

2006-04-25T17:40:00.000-05:00

it is hard not to be thankful for artists.
directed by nicolai fuglsig
music is "heartbeats" by jose gonzalez from his record "veneer"

kelly joe phelps concert - 4/24/06

2006-04-25T13:40:00.000-05:00

in case you haven't heard by now, kelly joe phelps is good. he's real good. it's a shame that more people don't know about this relevant but somehow not traditional blues artist. musicians know about phelps. steve earle certainly knows about him. bill frisell and tim o'brien know about him too. and monday night, a roomful (75) of kansas city musicians either knew about him, or were introduced to him at a 90 minute, 12 song, acoustic performance in the "parlor" of a local music store (mountain music shoppe).

phelps, accompanied by his guitar, a faulty capo, an electric tuner, and his unceasing percussion section (his left foot), played a selection of his own material, and a couple of his blues-folk-jazz-classical-singer/songwriter-country takes on some covers. maybe it is hard for him to gain a wider audience because he does not fit neatly into a category. his songs develop rich characters like those in a traditional singer/songwriter sense, they have angles similar to those found in folk music, they experiment with traditional blues themes and structures, and explore undeveloped scales like some of the greater jazz guitarists. somehow, his style maintains it's focus and allows the listener to just appreciate his eclectic voice without being overwhelmed by his influences. his voice is quiet yet forceful, and effortlessly slides the scales as fluidly as his fingers glide on the fret.

monday night, towards the end of his set, he was having an equipment malfunction with his capo. after toiling for a moment or two, one of the guys in the front row pulled a capo out of his pocket and handed it to him. phelps was grateful and used the borrowed tool. he tuned up his guitar, and then stopped. "i guess i'm a little surprised that you just had this with you," he said. hey kelly, don't be surprised. that's the kind of audience you should expect.

kelly joe phelps website

mountain music shoppe link

regarding the drive-by truckers

2006-04-23T21:14:00.001-05:00

it has been said, that only a southerner can truly appreciate the transcendent power of redemption. within the bounds of american culture, it is the south that bears the burden of having been on the wrong side of the slavery issue. within the bounds of american history, it is the south that bears the burden of having drug it's collective feet into a racially tolerant society. and within the bounds of american mythology, it is the south that bears the burden of living with the dark secrets and social ills it's culture and past has brought upon it. there is a humility inherent in any southerners sense of pride. a deep seeded recognition that if you peel back the layers to the ego and bravado of a proud southerner, you will find contrition and regret. the drive-by truckers, a power packing, ax slinging, whiskey drinking band from alabama, might argue that all of that is bull shit.

the dbts sing a lot about sin. they sing a lot about murder, racism, bigotry, homophobia, hard times, desperation, and sex, and drugs, and rock and roll, and i mean to say they sing a lot about rock and roll. they also sing a lot about the tension created between owning up to the past, and distancing themselves from the wrongs committed. take for instance the first verse of their blazing song "ronnie and neil" off their record "southern rock opera."

church blew up in birmingham / four little black girls killed for no goddamn good reason / all this hate and violence can't come to no good end / a stain on the good name. / a whole lot of good people dragged threw the blood and glass / blood stains on their good names and all of us take the blame

paterson hood, one of three frontmen and songwriters for the dbts, penned those lyrics which offer a counterpoint. there is an acknowledgement of the crimes of the past, and an understanding that no matter what, the south will have to live with the consequences of a few bastards, but they also give a voice to the southerner who hates what has happened, and will transcend the past. the dbts are able to take the slogan, "the south will rise again," and turn it from a threat, into a hope.

the dbts concede that there is an element in the south that continues to stain the good name. jason isbell creates a character in the song "never gonna change" off the record "the dirty south" who embodies the evil they hope to expose.

you can throw me in the colbert county jailhouse / you can throw me off the wilson dam / but there ain't much difference in the man i wanna be and the man i really am / we ain't never gonna change

mike cooley, in "sounds better in the song" off the record "decoration day" offers this reality:

well the drifter, he holds on to his youth just like it was money in the bank / and "lord knows, i can't change" sounds better in the song / than it does with hell to pay

the truth the dbts expose transcend the south. we all live with a universal shame. years ago, robert pinsky (at the time, the u.s. poet laureate) said at a reading, "we are all descendents of royalty, and we are all descendents of rape." it's not simply the south's responsibility to own up, and it's not simply the south's burden to distance themselves from the unexamined. but then again, the understanding of true redemption is not simply the south's to know.

the dbts website

junebug - directed by phil morrison

2006-04-22T18:20:00.000-05:00

junebug (2005) - directed by phil morrison
this is a tight, subtle, story about a family reunion of sorts, between the simple folks back home and the worldly brother with his new wife. the characters in this story walk the fine line between stereotypes and paradox. it is refreshing to see simple characters developed without relegating them to simpletons. this is a beautifully shot movie as well. the film is filled with empty frames and quiet moments. very reminiscent of jim jarmusch. some real nice turns in front of the camera too. amy adams as the pregnant, small town sister, is a show stealer, allesandro nivola is very promising as the prodigal (of sorts) brother/son, and bonnie "prince" billy fans can look for a will oldham cameo.

junebug imdb listing

sun kil moon - "ghosts of the great highway"

2006-04-22T17:04:00.000-05:00

sun kil moon - "ghosts of the great highway" (2003) jetset records
mark kozelek of red house painters, fronts this record, which is haunting. everything from the name of the band, the name of the record, the album art, and the music, conjure up ethereal images and characters as disperate as glenn tipton (guitar player for judas priest) and salvador sanchez (a boxer who died an early death). the instrumentation is unique. the band uses two drummers, a bass player, and kozelek on vocals and guitars. it's a driving and passive record all at the same time. listen to the song "salvador sanchez' - a crazy horse like effort, and then listen to the acoustic version at the end of the record, "pancho villa." ugly beauty.

sun kil moon website

photograph - grill

2006-04-22T16:52:00.000-05:00

taken in oklahoma in april of '06