Chris Abrego began his career working on the "Real World" and "Road Rules" reality shows. He then worked as a producer on MTV’s "Fear" and "Making the Band." His production company, "51 pictures" was created to foster independent reality television. Marc Cronin worked as a staff writer for the Howard Stern show until 1997, when he founded his production company: "Mindless Entertainment." As its namesake suggests, the company was fortified behind a mission statement of providing mind numbing reality entertainment to the masses. The two companies merged to become 51 Minds. This company is responsible for the three rings circus that is VH1 reality television; Chris and Marc are the lion tamers of that circus. The shows is produced by the tandem have been met with repeated success. An examination of the inventive methodology of Marc and Chris yields the reason for their good fortune: solicited internet interaction between producer and audience is creating a new formula for producing televised entertainment. Through the feedback via internet blogging, the audience is providing vital insight into the minds of the supposed target audience. The result: is an accurate reflection of the racist, sexist, materialist collective ideologies of a budding American adolescence. Through a system of audience approval and synthetic celebrity, VH1 has initiated a domino effect of reality T.V. spinoffs. The star of your next favorite show was your favorite contestant of your last favorite show. The result: VH1 celebrity reality game shows are the pioneers of a new generation of television genres.
51 Minds' catalogue of reality titles is quite notorious. “The Surreal Life,” “My Fair Brady,” “Flavor of Love,” “I Love New York,” “Rock of Love,” “I Love Money,” “Real Chance at Love,” and “Daisy of Love”. VH1 has been met with harsh criticism, from marginalized groups (blacks and women) for its peddling of sickening drivel and irresponsible pollution of national airwaves with hegemonic entertainment; issues erect around the exploitation of women, minorities, and even celebrities. Flavor Flav was aired for three seasons featuring 65 women vying for Flav’s attention. Despite the offensive nature of the show, no one could turn away. Fan favorite contestant New York did not win Flav’s affection, but she certainly peaked America’s interest. She was so highly searched on the internet that Marc and Chris decided to give her two seasons of the show for herself. In the “I Love New York” spinoff, men are now the over-anxious crabs in the bucket; climbing toward the wondrous clamoring pearl that is New York. Contestant brothers Real and Chance from the New York series were next in line. Two black recording artists with long stallion straight hair, cowboy hats and the disposition of children; for America, it was love of objectification at first sight. Following the trend of internet celebrity, the brothers were given two seasons of the same show. And so it was that VH1 digressed into a downward spiral of nostalgia for America’s past love of bojangling minstrel jesters. Amusingly, VH1 made a season of “Charm School” to educate the bimbos from Flav’s season one on how to be ladies.
This isn’t an argument over the misrepresentaion of values in reality T.V.; it is an illumination of the construction of celebrity. These shows are creating icons whom are icons solely because they are on T.V. In an attempt to reconnect with the characters they met on the last show, the audience feels obligated to watch an endless series of spinoffs. It’s pure genius.
Using solicited internet buzz to recreate the same show, over and over again is a formula that isn’t going anywhere. Everything today is interactive, customizable, and hands on. Video games, pornography, music and television; the novel devices that offer customization in already established industries are going to dominate the near future. Interactive pornography, at home music and video editing software, and now controllable Television. Imagine, every contestant on that reality show you watch is pitching a pilot. If the most charismatic character is always given a reality show based on audience appeal, it is a recipe for guaranteed success. A reality love drama based around the most beguiling drama queen or a reality romantic comedy built around the clown. No matter how slanderous, demoralizing, or offensive these shows may be, if they are constructed around quotas of audience approval, then they are exactly what America wants to see.
If the spin-off formula is going to reach any snags in its quest for air-time dominance, it will be the assertion that artists/ producers must possess some moral fiber. That is to say, there exists universal distinctions between what is entertaining, offensive, and obscene. VH1 programming executive Michael Hirschorn said “When it comes to television, the only sin is to be boring.” In today’s world, it is much easier to find the remote than to find moral fiber. The Romans watched people fight to the death as well as watching them being fed to the lions in the Colloseum. They were an empire based on imperialism and conquest through violence; their entertainment reflected their ideology. This isn’t an argument as to whether or not Marc and Chris are racist, misogynistic pricks looking to make millions through exploitation. This isn’t an argument about VH1’s peddling of hegemonic values and their defilement of accurate representation. This is an advocacy of the research the two have done of their target audience who want to see the racist, sexist, and consumerist insecurities lurking in the subconscious of American society acted out in a surreal simulation. Although love is present in the titles of all these series, love has never made an appearance in these shows. Recurring themes include the commoditization of women, the perpetuation of black stereotypes, and the sythesization of celebrity. Audiences are able to explore new personalities season by season, and inadvertently end up bonding with certain character archetypes. What is continuously reproduced is a value and a yearning to see these characters on their next adventure. The audience is tuning in to a new drug they are already partially hooked on. A new show for an established character or an established show full of new characters. Love is conditional and not conducive to the deficit attention span of Americans between the ages 15-35 flipping through channels. However, VH1 certainly caught America’s attention with “Flavor of Love”. There is no great accomplishment in the exploitation of the washed up, fizzled out, hot blooded piece of charcoal that is Flavor Flav. However, no body should undermine the success the internet approval spin-off system has wrought in such a small period of time. This formula has produced ratings hit after hit on a seemingly unrelated and otherwise monotone musical network.
The drama of reality TV has quickly overtaken your grandmother’s soap opera; your father’s sitcoms are soon to follow. There is something entirely hypnotic about the reality TV aesthetic and the train wreck larger than life casts we can not look away from. The addition of audience input is the catalyst that will cement this genre as a television staple. The approval of internet consensus removes the magnifying glass from its focus on producer and diverts its gaze over to its target audience. It shifts blame from the producers of misrepresentation to the audience asking to consume it. VH1 is giving its audience exactly what it wants without regard to moral obligation. Its ratings are reaping the benefits of a complete success. VH1’s brand of interactive celebrity game shows are pioneers in a new generation of television genres.
Tuesday, December 8, 2009
Monday, November 23, 2009
Means of production
Cinematic Orchestra, "Man with a movie Camera" (Ninja Tunes, 1999)
Cinematic Orchestra is a British jazz-electronic band signed to the Ninja Tunes label. The six member band features a digital music programmer, a bass player, a drummer, a saxophonist, a pianist, and a trumpet player. The product is a mix of acid jazz and trip hop. The album "The man with the movie camera" is a brilliant encapsulation of human emotion. The album's inspiration was a Russian Avant-gaurde soviet social commentary in the form of a silent documentary about industrial means of production. Dziga Vertov called his 1920's masterpiece "The Man with a movie camera". The songs of the Cinematic Orchestra album correlate with the movie as a redubbed soundtrack. The album is 17 tracks long.
Most pleasing aspects of CO's aesthetic are the use of repetition, the layering of established harmony, and the canvas feel of these compositions. The songs often seem lonely or unfinished; it is as if they require the imagination of the audience as a supplement. The British standout has managed to capture the experimental fanatic jubilant curiosity of jazz and infuse it with the deliberate mechanical cerebral focus of digital studio production.
"Dawn" epitomizes great music. The clumsy entrance of light over the horizon; the lazy reach of stretched cinders across the sky; the nagging realizations of the fading dusk. The four minute string composition is an automated assist to relaxation and reflection. This album is a nightmarish and meditative soundtrack full of instrumental songs of soliloquy. The ominous introspective sounding orchestral melodies are often supplemented with atonal funk samples. Background ambient samples of "oohs" and "ahhs" and the interpersonal sonic connection reverberating throughout this album combine for what we shall dubb: an album of classical colloquial jams.
"Awakening of a woman" is the best song on the album. An orgasmic cosmic orgy of celestial proportions. Set in 3/4 time, this ten minute epic evolves through seasons of disposition. The tone climbs from jubilant to passive, passive to anxious, anxious to morose, morose to wise. This song is perfectly titled, if perhaps woman is synonymous with universe. Admittedly, this track does give off the vibe of experimental lesbianism and the dim glow of Virginia slims. The song ends with a strengthened resolve infectious to the audience.
Cinematic Orchestra's "Man with a movie camera" is human effulgence and luminosity captured within a non lyrical opus. It is able to advertise all the resplendence of life with its emphasis on the timbre of emotion. This album arrogantly stumbles across genre lines without turning an ankle. Perhaps the band will begin to turn some heads with albums like this one. Four out of five stars for a cosmic experience.
Cinematic Orchestra is a British jazz-electronic band signed to the Ninja Tunes label. The six member band features a digital music programmer, a bass player, a drummer, a saxophonist, a pianist, and a trumpet player. The product is a mix of acid jazz and trip hop. The album "The man with the movie camera" is a brilliant encapsulation of human emotion. The album's inspiration was a Russian Avant-gaurde soviet social commentary in the form of a silent documentary about industrial means of production. Dziga Vertov called his 1920's masterpiece "The Man with a movie camera". The songs of the Cinematic Orchestra album correlate with the movie as a redubbed soundtrack. The album is 17 tracks long.
Most pleasing aspects of CO's aesthetic are the use of repetition, the layering of established harmony, and the canvas feel of these compositions. The songs often seem lonely or unfinished; it is as if they require the imagination of the audience as a supplement. The British standout has managed to capture the experimental fanatic jubilant curiosity of jazz and infuse it with the deliberate mechanical cerebral focus of digital studio production.
"Dawn" epitomizes great music. The clumsy entrance of light over the horizon; the lazy reach of stretched cinders across the sky; the nagging realizations of the fading dusk. The four minute string composition is an automated assist to relaxation and reflection. This album is a nightmarish and meditative soundtrack full of instrumental songs of soliloquy. The ominous introspective sounding orchestral melodies are often supplemented with atonal funk samples. Background ambient samples of "oohs" and "ahhs" and the interpersonal sonic connection reverberating throughout this album combine for what we shall dubb: an album of classical colloquial jams.
"Awakening of a woman" is the best song on the album. An orgasmic cosmic orgy of celestial proportions. Set in 3/4 time, this ten minute epic evolves through seasons of disposition. The tone climbs from jubilant to passive, passive to anxious, anxious to morose, morose to wise. This song is perfectly titled, if perhaps woman is synonymous with universe. Admittedly, this track does give off the vibe of experimental lesbianism and the dim glow of Virginia slims. The song ends with a strengthened resolve infectious to the audience.
Cinematic Orchestra's "Man with a movie camera" is human effulgence and luminosity captured within a non lyrical opus. It is able to advertise all the resplendence of life with its emphasis on the timbre of emotion. This album arrogantly stumbles across genre lines without turning an ankle. Perhaps the band will begin to turn some heads with albums like this one. Four out of five stars for a cosmic experience.
Monday, November 9, 2009
"For the Love of Ray Jay" (Season 2, episode 1:VH1)
Lucky Bastard
Younger brother of famous R&B singer Brandy (Moesha) is known for two reasons: his lackluster, whiny R&B career and his notorious domination of Kim Kardasian in the doggy style position during their Internet award winning sex tape. It made him the envy of all males between the ages of twelve and deceased. In fall of 2008 he quickly reproduced iconaltry within that same demographic by starring in season one of the VH1 Reality series: "For the Love of Ray-J". Fourteen beautiful women lived in his house and competed for his love over the course of four weeks. At the end of the show, "Cocktail" was crowned queen and the couple rode off happily ever after into the sunset.
Season two hits the reset button and loads up for a double take at love. Ray-J takes a mulligan with the rationale that "she was the best girl in the house, but she wasn't the best girl for me." Once again, fans are given the opportunity to watch the R&B star experience the life every man dreams of. This season, Ray J has invited 20 beautiful women to compete for his affection. The episode begins with the women arriving at the mansion and fighting over beds. The cattiness has already begun: "At least you don't look 30." says 21 year old "extra" condescendingly to 31 year old mother of two "miss Berry".
Ray J arrives at dinner to give all 20 girls nicknames based on ostensible qualia. A top ten ranking based on camera time: Luscious from the Philippines, Pairadees from Hawaii, Caliente from Argentina, Platinum, Adorable, Trouble, Extra, Flossy, Tipsy, and Lava in that order. These girls are scaldingly hot! It is imperative that males watch this show with an oven mitt and one hand Al Bundee style down the pants. The ladies are much more classy than Flavor Flav's and way more flossy than Antonio Sabato Jr's were.
After dinner, Ray J has one on one time with each girl for about two minutes. Caliente is from Argentina and has poor English. She is able to mention her employment with playboy via body painting. Her charismatic broken English, jubilant laughter, and dazzling smile was more than enough to build chemistry with Ray J. Contestant "Extra" gives Ray-J an incredible introductory lap dance complete with the splits in a mini-skirt. "Miss Berry" creates dialogue around her teen aged sons. "Luscious" tells him she has been celibate for eight months which ironically causes him and the other contestants to treat her as if branded with a scarlet letter. Charming kitten "tipsy" makes an unfortunate fool of herself Jacuzzi side during her time with the recording artist.
The show winds down with eliminations. Sadly, "tipsy" is eliminated because of her drinking. A premature exit for what could have been a fan favorite character. "Fettuccine" is dubbed a "celebrity smasher" by Ray-J for advertising a pre-existing relationship with celebrity Tyson Bedford. She is eliminated and sent stampeding home slobbering and crying. "Diego" is sent home for asking Ray-J music industry questions and inquiring about his musical interests. "Luscious" is picked last which gives the audience quite a fright. She is an incredible playboy model in real life and the celibacy spiel makes her a front runner to win the competition. The fact that a vicarious experience of my sexual fantasies are starring this 5'4 Nick Cannon consistently is proof that life isn't fair. However, this is easily one of the most perversely enjoyable shows on television for the cosmopolitan conjugal connoisseur.
Younger brother of famous R&B singer Brandy (Moesha) is known for two reasons: his lackluster, whiny R&B career and his notorious domination of Kim Kardasian in the doggy style position during their Internet award winning sex tape. It made him the envy of all males between the ages of twelve and deceased. In fall of 2008 he quickly reproduced iconaltry within that same demographic by starring in season one of the VH1 Reality series: "For the Love of Ray-J". Fourteen beautiful women lived in his house and competed for his love over the course of four weeks. At the end of the show, "Cocktail" was crowned queen and the couple rode off happily ever after into the sunset.
Season two hits the reset button and loads up for a double take at love. Ray-J takes a mulligan with the rationale that "she was the best girl in the house, but she wasn't the best girl for me." Once again, fans are given the opportunity to watch the R&B star experience the life every man dreams of. This season, Ray J has invited 20 beautiful women to compete for his affection. The episode begins with the women arriving at the mansion and fighting over beds. The cattiness has already begun: "At least you don't look 30." says 21 year old "extra" condescendingly to 31 year old mother of two "miss Berry".
Ray J arrives at dinner to give all 20 girls nicknames based on ostensible qualia. A top ten ranking based on camera time: Luscious from the Philippines, Pairadees from Hawaii, Caliente from Argentina, Platinum, Adorable, Trouble, Extra, Flossy, Tipsy, and Lava in that order. These girls are scaldingly hot! It is imperative that males watch this show with an oven mitt and one hand Al Bundee style down the pants. The ladies are much more classy than Flavor Flav's and way more flossy than Antonio Sabato Jr's were.
After dinner, Ray J has one on one time with each girl for about two minutes. Caliente is from Argentina and has poor English. She is able to mention her employment with playboy via body painting. Her charismatic broken English, jubilant laughter, and dazzling smile was more than enough to build chemistry with Ray J. Contestant "Extra" gives Ray-J an incredible introductory lap dance complete with the splits in a mini-skirt. "Miss Berry" creates dialogue around her teen aged sons. "Luscious" tells him she has been celibate for eight months which ironically causes him and the other contestants to treat her as if branded with a scarlet letter. Charming kitten "tipsy" makes an unfortunate fool of herself Jacuzzi side during her time with the recording artist.
The show winds down with eliminations. Sadly, "tipsy" is eliminated because of her drinking. A premature exit for what could have been a fan favorite character. "Fettuccine" is dubbed a "celebrity smasher" by Ray-J for advertising a pre-existing relationship with celebrity Tyson Bedford. She is eliminated and sent stampeding home slobbering and crying. "Diego" is sent home for asking Ray-J music industry questions and inquiring about his musical interests. "Luscious" is picked last which gives the audience quite a fright. She is an incredible playboy model in real life and the celibacy spiel makes her a front runner to win the competition. The fact that a vicarious experience of my sexual fantasies are starring this 5'4 Nick Cannon consistently is proof that life isn't fair. However, this is easily one of the most perversely enjoyable shows on television for the cosmopolitan conjugal connoisseur.
Sunday, November 8, 2009
"The Rocketeer" (Directed by Joe Johnston, 1991)
It goes up and won't quit!
In the pre-WWII era, American Scientist Howard Hughes develops a top secret jet pack prototype that is stolen by Nazi agents. During an intense pursuit, the agents lose the million dollar weapon where it falls into the hands of aspiring pilot Cliff Secord on an unassuming airstrip. After a few test runs, Cliff uses the pack to save a pilot from a burning plane. The story in the papers brings the Nazi's hot on his trail. This is a movie about love, adventure, and the joy of fantasy. The Rocketeer is a blast-off blockbuster packed with two hours of wholesome adventure for the kids; however, the mechanical character and plot archetypes don't offer up much for audiences looking to take this film for more than face value.
This film hit theaters in 1991 which means lead actor Bill Cambell (Cliff Secord) was pitted against Arnold in "Terminator" and Kevin Costner in "Robin Hood". The Rocketeer won't take off from the runway like those instant classics, but it will resonate with Superhero hopefuls and genre junkies of the sort. The story seems generic and recycled but a spruce and taut cast of actors is enough to ensnare the audience. Jennifer Connelly creates a strong advocacy for the generation of additional testicles scheduled to be descended immediately. "And the Oscar for most bonerific performance goes to:....?" Seriously, the temptress is able to enchant her male audience with an eloquence that will leave you engorged for a running time of 109 minutes; no rocket fuel is necessary. Pocahontas plays a less pornographic Disney damsel. Timothy Dalton is a more believable villainous Nazi spy than Cliff is the hero, but their sexual tug of war over cinder-hot Jennifer Connelly keeps the audience under arrest and standing at attention until the closing curtain. The dialogue is plagued with more silly catch phases than every Indiana Jones and Batman movie ever made combined. Still, worth the price of admission for even the most stubborn "nickle nursers" (movie phrase). There are also numerous instances of the film failing in sub-par attempts at witt and humor.
This movie is a fan favorite for zealots of the 1980's comic. The movie is set in the years preceding World War II; Director Joe Johnston ("Honey, I shrunk the kids") should be credited for the construction of a believable snapshot of the 1930's. The look and feel of the airplanes, the cars, the clothes, and the fistfight aboard the Zeppelin all ooze with authenticity. This film sports a sexual prowess not present in Disney films. Seriously, Connelly has about three sex scenes missing from this movie. Also, undertones of sinister Nazi activity and an ominous Nazi propaganda film insert within the movie are a bit distracting. Despite its quirks, this movie is a worthwhile adventure. Arms and legs inside the vehicle; your imagination is ready for launch. Three out of five stars.
In the pre-WWII era, American Scientist Howard Hughes develops a top secret jet pack prototype that is stolen by Nazi agents. During an intense pursuit, the agents lose the million dollar weapon where it falls into the hands of aspiring pilot Cliff Secord on an unassuming airstrip. After a few test runs, Cliff uses the pack to save a pilot from a burning plane. The story in the papers brings the Nazi's hot on his trail. This is a movie about love, adventure, and the joy of fantasy. The Rocketeer is a blast-off blockbuster packed with two hours of wholesome adventure for the kids; however, the mechanical character and plot archetypes don't offer up much for audiences looking to take this film for more than face value.
This film hit theaters in 1991 which means lead actor Bill Cambell (Cliff Secord) was pitted against Arnold in "Terminator" and Kevin Costner in "Robin Hood". The Rocketeer won't take off from the runway like those instant classics, but it will resonate with Superhero hopefuls and genre junkies of the sort. The story seems generic and recycled but a spruce and taut cast of actors is enough to ensnare the audience. Jennifer Connelly creates a strong advocacy for the generation of additional testicles scheduled to be descended immediately. "And the Oscar for most bonerific performance goes to:....?" Seriously, the temptress is able to enchant her male audience with an eloquence that will leave you engorged for a running time of 109 minutes; no rocket fuel is necessary. Pocahontas plays a less pornographic Disney damsel. Timothy Dalton is a more believable villainous Nazi spy than Cliff is the hero, but their sexual tug of war over cinder-hot Jennifer Connelly keeps the audience under arrest and standing at attention until the closing curtain. The dialogue is plagued with more silly catch phases than every Indiana Jones and Batman movie ever made combined. Still, worth the price of admission for even the most stubborn "nickle nursers" (movie phrase). There are also numerous instances of the film failing in sub-par attempts at witt and humor.
This movie is a fan favorite for zealots of the 1980's comic. The movie is set in the years preceding World War II; Director Joe Johnston ("Honey, I shrunk the kids") should be credited for the construction of a believable snapshot of the 1930's. The look and feel of the airplanes, the cars, the clothes, and the fistfight aboard the Zeppelin all ooze with authenticity. This film sports a sexual prowess not present in Disney films. Seriously, Connelly has about three sex scenes missing from this movie. Also, undertones of sinister Nazi activity and an ominous Nazi propaganda film insert within the movie are a bit distracting. Despite its quirks, this movie is a worthwhile adventure. Arms and legs inside the vehicle; your imagination is ready for launch. Three out of five stars.
Monday, October 26, 2009
So much more than Cyclical Vibrations....
"Almost Famous" (Directed by Cameron Crowe, 2000)
"Almost Famous" takes a time machine approach to the world of Rock in the early 70's. The story is told through the lens of 15 year-old academic prodigy William Miller. The story takes off when William is given the dream opportunity to shadow the band, Still water, and write a one thousand word article for them in Rolling Stone. The advice he receives from his Mentor Lester Bangs resonates throughout the movie: "Don't make friends with the Rock stars!" This came in addition to William's mother's stern advice: "Don't take drugs!"
The film entertains key music industry concepts; one of the side themes of this movie is the struggle for commercial acceptance while staying true to one's art. Also prevalent was the depiction of the volatile nature of relationships between band mates created by the encroaching conditions of touring. This film is an engrossing and contagious glorification of Rock and Roll not just as musical expression, but as a way of life.
Perhaps the most enjoyable aspect of this movie was Director Cameron Crowe's ability to harness the feel of time travel. This movie will transport its audience to the 70's; It's not the hair or the bell bottoms, It is the unsaited hunger of animal aggression, It is the imposed sanguine disposition of flower power, the unkempt flow of anarchy surging just beneath the foreskins of the masses pledging a new authority. The concert portions of this film are delightfully encapsulating. The audience feels included in the mosh, half expecting to be the next to volley a beach ball. A debilitating, deliberate orgasm delivered with alacrity leaving the victim slobbering for more.
Lester Bangs enjoys a brief roll in the film played by Phillip Seymour Hoffman. We don't get to see the sort of Morose Lester Bangs depicted in Jim DeRogoatis' "Let it Blurt." However, actor Seymour Hoffman does seem to channel the cerebral fanaticism lurking behind the late great critic's eyes.
All in all this is a fantastic Rock movie. It grabs you by the balls and takes you on a magic carpet ride. A legitimate stab at the something for everyone approach. Even when the story hints at the darker side of metal, it does so triumphantly with raised chin and an exuberant half smirk. A thoroughly enjoyable cinematic experience both for journeyman Rock fans and the budding.
"Almost Famous" takes a time machine approach to the world of Rock in the early 70's. The story is told through the lens of 15 year-old academic prodigy William Miller. The story takes off when William is given the dream opportunity to shadow the band, Still water, and write a one thousand word article for them in Rolling Stone. The advice he receives from his Mentor Lester Bangs resonates throughout the movie: "Don't make friends with the Rock stars!" This came in addition to William's mother's stern advice: "Don't take drugs!"
The film entertains key music industry concepts; one of the side themes of this movie is the struggle for commercial acceptance while staying true to one's art. Also prevalent was the depiction of the volatile nature of relationships between band mates created by the encroaching conditions of touring. This film is an engrossing and contagious glorification of Rock and Roll not just as musical expression, but as a way of life.
Perhaps the most enjoyable aspect of this movie was Director Cameron Crowe's ability to harness the feel of time travel. This movie will transport its audience to the 70's; It's not the hair or the bell bottoms, It is the unsaited hunger of animal aggression, It is the imposed sanguine disposition of flower power, the unkempt flow of anarchy surging just beneath the foreskins of the masses pledging a new authority. The concert portions of this film are delightfully encapsulating. The audience feels included in the mosh, half expecting to be the next to volley a beach ball. A debilitating, deliberate orgasm delivered with alacrity leaving the victim slobbering for more.
Lester Bangs enjoys a brief roll in the film played by Phillip Seymour Hoffman. We don't get to see the sort of Morose Lester Bangs depicted in Jim DeRogoatis' "Let it Blurt." However, actor Seymour Hoffman does seem to channel the cerebral fanaticism lurking behind the late great critic's eyes.
All in all this is a fantastic Rock movie. It grabs you by the balls and takes you on a magic carpet ride. A legitimate stab at the something for everyone approach. Even when the story hints at the darker side of metal, it does so triumphantly with raised chin and an exuberant half smirk. A thoroughly enjoyable cinematic experience both for journeyman Rock fans and the budding.
Sunday, October 4, 2009
Universal Remote Control
Kanye West, "Graduation" (Def Jam, 2007)
Kanye West is without a doubt the most famous or infamous rapper to come out of Chicago in the last decade. His first album, "College Dropout," changed the course of hip-hop with its focus on the resurrection of the soul sound via samples. The album commits stabbing social commetary, violently debating the validity of post-secondary education. Easily the most sincere of his albums, He demonstrates his ability to hone in on a deliberate target audience. It was a life-changing album. Kanye's sophomore album was "Late Registration," which traded in the neo-soul sound for an ostentatious and grandiloquent orchestral sonance. This album won a Grammy as a reward for its commercial appeal. With the exception of "Crack Music" and "Drive Slow," the album was completely void of any of the frustration and angst present on the first album. Many of the values that resonated with West's audience in the first album were absent; the album just wasn't tough. West was hailed for his "ultra" political "Diamonds from Sierra Leone." Sadly, those of us in reality recognized the song as bombastic. He steps up to the podium and says little of relevance pertaining to Sierra Leone, the DRC, or the real minerals perpetuating the longest standing war of our lives.
Which brings us to the album that made our parents all fans of Kanye West, "Graduation." His first two CDs combined for 41 tracks. "Graduation" is a brief and focused 13. If the "Diamonds" remix wasn't enough, Kanye's windbag lyrics in his opening track sure are. "I'm like a fly Malcolm X, by and jeans necessary" completely undermines the political gains of someone much more deserving of iconic status. The only thing more despicable to the comparison is seeing Soulja Boi paraded around like a baboon and applauded by a slobbering audience pleased with their delightful minstrel jester. This album boasts more commercial appeal than the last two combined and it's no wonder it sold nearly a million copies in its first week. The target audience is the entire galaxy, and at least 11 of these songs are dictionary definitions of universal appeal. In spite of his success, Kanye is still extrovertly analyzing his academic experience (or lack there of). "Scared to face the world complacent career student, some people graduate but be still stupid." Despite the Malcolm X comparison, "Good Morning" is buzz worthy and stimulating foreplay. Kanye West definitely makes the most of the Elton John sample, "Someone Saved My Life Tonight." The production can only be described as heavenly. The chorus is a looped audio track of Hov, "Hustlers, that's if you still livin', get on down." The only thing missing from his opener is a third verse;"Good Morning" is definitely a song to listen to on repeat.
The second track is "Champion." This song is amazing because it takes the place of an actual conversation when you are stuck in the car with Dad. Kanye must have some serious bank to afford the Steely Dan sample ("Kid Charlemagne"); hats off to him for actually taking some creative licence in a derivative work. Other family picnic or road trip songs include: "I wonder", "Good Life", "Flashing Lights", and "Everything I am."
"Barry Bonds" is the best "rap" song on the album. Its got attitude, edge, funk, and grit. Both Kanye and Lil Wayne are inventive in their rhyme schemes. The commercial nature of the album is completely put on hold which yields to an authentic artistic expression. Only Wayne could go in the booth high on heroin and come out with some crack. "Drunk and Hot Girls" is another classic. This song is in 3/4 time which isn't at all typical of hip-hop. Its lyrically hilarious and quite intoxicating sonically.
"Can't Tell Me Nothing" is reason enough to buy this album. Finally we see the spiteful and determined Kanye from that first glorious album. He shows why he has been long renown as a mercenary producer with this track. He even throws in Young Jeezy's adlibs as a final spice for his masterpiece(Jeezy is on the remix). You can't help but to quote the lyrics of this song religiously, this is as epic as it gets. This song resonates after getting kicked out of your house, or losing your job, or dropping out of school. A strong and volatile declaration railing against an unnamed authority. A focus on the only imperative of this world, the money.
This album can best be described as a symphony of synthesisers (very expensive-sounding ones). We have definitely proceeded to the next step in the trend of moving toward a softer more accessible Kanye. Hey, nobody said going mainstream was a bad thing, but maybe I don't want my mom quoting more Lil Wayne lyrics than I do. This album is by no means an edgy or rambunctious reflection of Mr. West's personality. Instead it is a prelude into his next, ultra vulnerable ablbum, "Heartbreaks and 808's." The Chicagoan almost certainly must be applauded on his ability to entertain a universal audience; West does so without sacrificing any noticeable quantity of his integrity. This album deserves upwards of three out of five stars.
Kanye West is without a doubt the most famous or infamous rapper to come out of Chicago in the last decade. His first album, "College Dropout," changed the course of hip-hop with its focus on the resurrection of the soul sound via samples. The album commits stabbing social commetary, violently debating the validity of post-secondary education. Easily the most sincere of his albums, He demonstrates his ability to hone in on a deliberate target audience. It was a life-changing album. Kanye's sophomore album was "Late Registration," which traded in the neo-soul sound for an ostentatious and grandiloquent orchestral sonance. This album won a Grammy as a reward for its commercial appeal. With the exception of "Crack Music" and "Drive Slow," the album was completely void of any of the frustration and angst present on the first album. Many of the values that resonated with West's audience in the first album were absent; the album just wasn't tough. West was hailed for his "ultra" political "Diamonds from Sierra Leone." Sadly, those of us in reality recognized the song as bombastic. He steps up to the podium and says little of relevance pertaining to Sierra Leone, the DRC, or the real minerals perpetuating the longest standing war of our lives.
Which brings us to the album that made our parents all fans of Kanye West, "Graduation." His first two CDs combined for 41 tracks. "Graduation" is a brief and focused 13. If the "Diamonds" remix wasn't enough, Kanye's windbag lyrics in his opening track sure are. "I'm like a fly Malcolm X, by and jeans necessary" completely undermines the political gains of someone much more deserving of iconic status. The only thing more despicable to the comparison is seeing Soulja Boi paraded around like a baboon and applauded by a slobbering audience pleased with their delightful minstrel jester. This album boasts more commercial appeal than the last two combined and it's no wonder it sold nearly a million copies in its first week. The target audience is the entire galaxy, and at least 11 of these songs are dictionary definitions of universal appeal. In spite of his success, Kanye is still extrovertly analyzing his academic experience (or lack there of). "Scared to face the world complacent career student, some people graduate but be still stupid." Despite the Malcolm X comparison, "Good Morning" is buzz worthy and stimulating foreplay. Kanye West definitely makes the most of the Elton John sample, "Someone Saved My Life Tonight." The production can only be described as heavenly. The chorus is a looped audio track of Hov, "Hustlers, that's if you still livin', get on down." The only thing missing from his opener is a third verse;"Good Morning" is definitely a song to listen to on repeat.
The second track is "Champion." This song is amazing because it takes the place of an actual conversation when you are stuck in the car with Dad. Kanye must have some serious bank to afford the Steely Dan sample ("Kid Charlemagne"); hats off to him for actually taking some creative licence in a derivative work. Other family picnic or road trip songs include: "I wonder", "Good Life", "Flashing Lights", and "Everything I am."
"Barry Bonds" is the best "rap" song on the album. Its got attitude, edge, funk, and grit. Both Kanye and Lil Wayne are inventive in their rhyme schemes. The commercial nature of the album is completely put on hold which yields to an authentic artistic expression. Only Wayne could go in the booth high on heroin and come out with some crack. "Drunk and Hot Girls" is another classic. This song is in 3/4 time which isn't at all typical of hip-hop. Its lyrically hilarious and quite intoxicating sonically.
"Can't Tell Me Nothing" is reason enough to buy this album. Finally we see the spiteful and determined Kanye from that first glorious album. He shows why he has been long renown as a mercenary producer with this track. He even throws in Young Jeezy's adlibs as a final spice for his masterpiece(Jeezy is on the remix). You can't help but to quote the lyrics of this song religiously, this is as epic as it gets. This song resonates after getting kicked out of your house, or losing your job, or dropping out of school. A strong and volatile declaration railing against an unnamed authority. A focus on the only imperative of this world, the money.
This album can best be described as a symphony of synthesisers (very expensive-sounding ones). We have definitely proceeded to the next step in the trend of moving toward a softer more accessible Kanye. Hey, nobody said going mainstream was a bad thing, but maybe I don't want my mom quoting more Lil Wayne lyrics than I do. This album is by no means an edgy or rambunctious reflection of Mr. West's personality. Instead it is a prelude into his next, ultra vulnerable ablbum, "Heartbreaks and 808's." The Chicagoan almost certainly must be applauded on his ability to entertain a universal audience; West does so without sacrificing any noticeable quantity of his integrity. This album deserves upwards of three out of five stars.
Sunday, September 27, 2009
Grand Champion?
DMX, "Grand Champ" (Def Jam Records, Ruff Riders, 2003)
Earl Simmons AKA Dark Man X AKA DMX AKA the dog has had his fair share of trials and tribulations. He has been jailed for possession of drug paraphernalia, animal cruelty (dog fighting), and been institutionalized for over six years in a psych ward. His fifth album, Grand Champ, is if nothing else the most brilliantly titled of his albums. For those of you without street smarts, I'll throw you a bone. Grand Champ is a ranking bestowed upon an undefeated pit bull with at least five wins. If you didn't already know that little tidbit, chances are you won't be getting much out of this album. X has his daughter spell it out on the second track of this album: "This is dedicated to the streets," resonates the hook. Simmons doesn't rap for his consumers in the burbs, he doesn't rap for critics. This album is riddled with terminology and references far more intellectually accessible to the more marginalized members of our society. In other words, this album was made for the hood.
While this album does include DMX staples of lots of screaming, growling, and barking, it fails to live up to its name and effectively establishes itself as his most underachieving album to date. The first ten tracks boast eight songs that are all good enough to be released as singles. Among these are the anthems: "Where the hood at" and the "dog is out." X's daughter provides an ominous sounding hook that coupled with his sinister lyrics, provides for an instant east coast classic. Also in the first ten tracks are records from Kanye West and Swizz Beatz; notable collaborations include 50 cent, Jadakiss, Styles P, Sheek, Eve, and Infa-Red.
The next three tracks are garbage. Seriously, would anyone else like to have the twelve minutes of their life back that they waisted on these songs? "Rob all night," "We go hard," and "Bout to blow" are void of energy and over saturated with the same old Sap and generic themes. Honestly, those cuts lick more ass than most pit bulls. One need only read the names of these tracks to milk them for their entire value. Track fourteen features DMX singing, yes, singing over a Greg Perry sample. Unfortunately, "Will she meet the train" is a favorite of mine so X's rendition is completely lost on me. His singing creates a strong advocacy of saddling noisy dogs with a muzzle. This is the first time I wished a rapper would've considered using the always excruciating auto-tune plug in. Seriously X, lay off the blow. The next track is a severely misplaced R&B love song with Monica during which the tandem struggle to parity the chemistry of other hip-hop duets. No disrespect to the dog, but this song bites. This track could've easily carried out cerebral homicide on both of their careers. "Ayo Kato" is the last evidence of any sincerity on the album, a memorial to a friend and victim of Gang violence.
The album ends with three tracks only fit for religious zealots one of which Patti Labelle should be credited for carrying. Ten of the album's twenty songs are worth a listen, the rest aren't worth the time you'll spend listening. Earl Simmons has put out classic albums in the past but you can't teach an old dog new tricks. Unfortunately, this puppy is very much past his prime. Two and a half stars out of five would be putting it politely.
Earl Simmons AKA Dark Man X AKA DMX AKA the dog has had his fair share of trials and tribulations. He has been jailed for possession of drug paraphernalia, animal cruelty (dog fighting), and been institutionalized for over six years in a psych ward. His fifth album, Grand Champ, is if nothing else the most brilliantly titled of his albums. For those of you without street smarts, I'll throw you a bone. Grand Champ is a ranking bestowed upon an undefeated pit bull with at least five wins. If you didn't already know that little tidbit, chances are you won't be getting much out of this album. X has his daughter spell it out on the second track of this album: "This is dedicated to the streets," resonates the hook. Simmons doesn't rap for his consumers in the burbs, he doesn't rap for critics. This album is riddled with terminology and references far more intellectually accessible to the more marginalized members of our society. In other words, this album was made for the hood.
While this album does include DMX staples of lots of screaming, growling, and barking, it fails to live up to its name and effectively establishes itself as his most underachieving album to date. The first ten tracks boast eight songs that are all good enough to be released as singles. Among these are the anthems: "Where the hood at" and the "dog is out." X's daughter provides an ominous sounding hook that coupled with his sinister lyrics, provides for an instant east coast classic. Also in the first ten tracks are records from Kanye West and Swizz Beatz; notable collaborations include 50 cent, Jadakiss, Styles P, Sheek, Eve, and Infa-Red.
The next three tracks are garbage. Seriously, would anyone else like to have the twelve minutes of their life back that they waisted on these songs? "Rob all night," "We go hard," and "Bout to blow" are void of energy and over saturated with the same old Sap and generic themes. Honestly, those cuts lick more ass than most pit bulls. One need only read the names of these tracks to milk them for their entire value. Track fourteen features DMX singing, yes, singing over a Greg Perry sample. Unfortunately, "Will she meet the train" is a favorite of mine so X's rendition is completely lost on me. His singing creates a strong advocacy of saddling noisy dogs with a muzzle. This is the first time I wished a rapper would've considered using the always excruciating auto-tune plug in. Seriously X, lay off the blow. The next track is a severely misplaced R&B love song with Monica during which the tandem struggle to parity the chemistry of other hip-hop duets. No disrespect to the dog, but this song bites. This track could've easily carried out cerebral homicide on both of their careers. "Ayo Kato" is the last evidence of any sincerity on the album, a memorial to a friend and victim of Gang violence.
The album ends with three tracks only fit for religious zealots one of which Patti Labelle should be credited for carrying. Ten of the album's twenty songs are worth a listen, the rest aren't worth the time you'll spend listening. Earl Simmons has put out classic albums in the past but you can't teach an old dog new tricks. Unfortunately, this puppy is very much past his prime. Two and a half stars out of five would be putting it politely.
Sunday, September 20, 2009
A throbbing appetite.....
An enthralling experience in dining
Mike Sula is a food writer for the Chicago reader. In his unique writing style, he builds chemistry with the reader by flirting with his preconceptions of whatever exotic delicacy is currently tempting him. His tone is personal and intimate, as if speaking to one friend or one reader. He dolls out expectations of what said dish will ostensibly taste like and usually opens with a comparison to some mutually identifiable snack. He mounts the anticipation with purposive creativity, describing texture without consideration to taste. He begins to undress ingredients in a slow and deliberate manor. When anticipation has finally met its climax, he serenades his audience with an ode to the sensuality of taste that leaves his readers appetite enamored and aroused. Sula writes as only an Obese, sexually deviant poet could. His intimacy with food is contagious; After reading a few stanzas, I didn't know if I wanted a bowl of Kita Firfir to sate my hunger or if I wanted a bowl of Turshi Amba to have sex with. In any case, I found his insights to be very informative. The feathery language provides enough excitement to produce these exotic dishes as intriguing and relevant choies. A scholarly writing style is conducive to book reviewing. Its obvious that Mike Sula's genius lies in his simple understanding that we all gotta' eat. His review style is well acclimated to mass appeal and his tangible interest in culinary delight makes him a trustworthy source.
Mike Sula is a food writer for the Chicago reader. In his unique writing style, he builds chemistry with the reader by flirting with his preconceptions of whatever exotic delicacy is currently tempting him. His tone is personal and intimate, as if speaking to one friend or one reader. He dolls out expectations of what said dish will ostensibly taste like and usually opens with a comparison to some mutually identifiable snack. He mounts the anticipation with purposive creativity, describing texture without consideration to taste. He begins to undress ingredients in a slow and deliberate manor. When anticipation has finally met its climax, he serenades his audience with an ode to the sensuality of taste that leaves his readers appetite enamored and aroused. Sula writes as only an Obese, sexually deviant poet could. His intimacy with food is contagious; After reading a few stanzas, I didn't know if I wanted a bowl of Kita Firfir to sate my hunger or if I wanted a bowl of Turshi Amba to have sex with. In any case, I found his insights to be very informative. The feathery language provides enough excitement to produce these exotic dishes as intriguing and relevant choies. A scholarly writing style is conducive to book reviewing. Its obvious that Mike Sula's genius lies in his simple understanding that we all gotta' eat. His review style is well acclimated to mass appeal and his tangible interest in culinary delight makes him a trustworthy source.
Are we watching the same game?
Game, "Doctor's Advocate" (Geffen 2006)
Game struggles to live up to the hype of his sophmore album and fails to soar when pulled out from under Dr. Dre's wings.
Both Reviews can be found at Amazon.com
http://www.amazon.com/Doctors-Advocate-Game/dp/B000J103X4
First Review by: Reggie L. Mattocks
Yep it pretty much sounds like a continuation of The Documentary which actually isn't a bad thing for a sophmore joint. I mean most fans were at the very least expecting GAME to keep it as raw and tight as the first one and Doctor's Advocate does that and more. Leaving G-Unit and Aftermath was actually a great thing for him. He doesn't need to be pigeonholed into thinking DRE was the sole reason for his success and he definitely doesn't need to be associated with a weak mob like G-Unit (How good is that money looking now Mobb Deep. You not only sold your soul but have lost your following messing with 50 da rat). Hopefully Young Buck will have enough sense to get outta there and go independent.
This review is severely lacking in any sort of relevant information about Game's sophmore album. This was Jason Taylor's coming of age album in that he took significant risks on his track selection and strayed slightly from the commercialized image he was saddled with on his debut. The first three tracks offer slamming beats that resonate with West Coast flavor and sinister melodies, however, Game struggles to compete with the level of intensity offered by his all-star lineup of producers. Tacks four through seven offer a designated block of acoustic nap-time in which Game lays down self-riotous and generic free-styles over four tracks that sound like the demo version of fruity loops. The next five tracks are more than good enough to have been the five opening tracks and feature his ode to gold diggers single "wouldn't get far" feat. Kanye West. Also noteworthy is the track,"Scream on Em" produced by Swizz Beatz. Easily one of the best songs on this album, It can transform the most submissive bookworm into a berserking, raging, overly amped and violent beast for its three minute duration. This review offers no description of the everchanging mood of this album which goes from juvenile, to brooding, to reflective and regretful, vengeful, and finally content. This is anything but "a continuation" of his last album and while it not be good enough to recieve 5 or even 4 stars, it is definately worth a listen.
Anonomyous Adolescent
A complete mess
Without Dre's quarterbacking behind the scenes, Game's album lacks direction. Many of the early tracks end up being glorified freestyles that tell no story, have no direction and are missing concepts ending up sounding like the same rhymes over different beats. And although Dre's presence is missing, his name is not. Game makes mention of Dre on nearly ever track, almost obsessively. Game does manage to put together a fairly decent album with production help from Storch, Will I Am, Kanye West and Just Blaze and caps the album with a soulful climax featuring Nas reminiscing on hip-hop's fallen soldiers and current heavyweights and a much-needed squashing of the beef between him-self and 50. The Doctor's Advocate is not worth half the hype that was made for it but is an okay listen. Game still has potential but without Dre mentoring him it's a wrap. Hopefully Dre will hear this album and accept hip-hop's prodigal son back.
I found this review to be spot on. The personal and heartfelt tracks come towards the end of the CD and require a bit too much patience to get through game shooting off about the usual generic hip-hop themes. Its good to know I'm not the only one a little creeped out by Game's obsessive nature toward Dr Dre. He pays homage to him in a religious and rehearsed manor. Its not hard to picture Game cropping out pictures of Dre's face to put over pictures of ex-girlfriends. The mention of his extensive list of producers is noteworthy because the last album was almost exclusively Dre. It would've been nice to see a bit of discussion about the sheer diversity of the tracks Game raps over. The CD layout seems to have been aiming at a something for everybody approach but falls short with the finished product. Three and a half out of five stars.
Game struggles to live up to the hype of his sophmore album and fails to soar when pulled out from under Dr. Dre's wings.
Both Reviews can be found at Amazon.com
http://www.amazon.com/Doctors-Advocate-Game/dp/B000J103X4
First Review by: Reggie L. Mattocks
Yep it pretty much sounds like a continuation of The Documentary which actually isn't a bad thing for a sophmore joint. I mean most fans were at the very least expecting GAME to keep it as raw and tight as the first one and Doctor's Advocate does that and more. Leaving G-Unit and Aftermath was actually a great thing for him. He doesn't need to be pigeonholed into thinking DRE was the sole reason for his success and he definitely doesn't need to be associated with a weak mob like G-Unit (How good is that money looking now Mobb Deep. You not only sold your soul but have lost your following messing with 50 da rat). Hopefully Young Buck will have enough sense to get outta there and go independent.
This review is severely lacking in any sort of relevant information about Game's sophmore album. This was Jason Taylor's coming of age album in that he took significant risks on his track selection and strayed slightly from the commercialized image he was saddled with on his debut. The first three tracks offer slamming beats that resonate with West Coast flavor and sinister melodies, however, Game struggles to compete with the level of intensity offered by his all-star lineup of producers. Tacks four through seven offer a designated block of acoustic nap-time in which Game lays down self-riotous and generic free-styles over four tracks that sound like the demo version of fruity loops. The next five tracks are more than good enough to have been the five opening tracks and feature his ode to gold diggers single "wouldn't get far" feat. Kanye West. Also noteworthy is the track,"Scream on Em" produced by Swizz Beatz. Easily one of the best songs on this album, It can transform the most submissive bookworm into a berserking, raging, overly amped and violent beast for its three minute duration. This review offers no description of the everchanging mood of this album which goes from juvenile, to brooding, to reflective and regretful, vengeful, and finally content. This is anything but "a continuation" of his last album and while it not be good enough to recieve 5 or even 4 stars, it is definately worth a listen.
Anonomyous Adolescent
A complete mess
Without Dre's quarterbacking behind the scenes, Game's album lacks direction. Many of the early tracks end up being glorified freestyles that tell no story, have no direction and are missing concepts ending up sounding like the same rhymes over different beats. And although Dre's presence is missing, his name is not. Game makes mention of Dre on nearly ever track, almost obsessively. Game does manage to put together a fairly decent album with production help from Storch, Will I Am, Kanye West and Just Blaze and caps the album with a soulful climax featuring Nas reminiscing on hip-hop's fallen soldiers and current heavyweights and a much-needed squashing of the beef between him-self and 50. The Doctor's Advocate is not worth half the hype that was made for it but is an okay listen. Game still has potential but without Dre mentoring him it's a wrap. Hopefully Dre will hear this album and accept hip-hop's prodigal son back.
I found this review to be spot on. The personal and heartfelt tracks come towards the end of the CD and require a bit too much patience to get through game shooting off about the usual generic hip-hop themes. Its good to know I'm not the only one a little creeped out by Game's obsessive nature toward Dr Dre. He pays homage to him in a religious and rehearsed manor. Its not hard to picture Game cropping out pictures of Dre's face to put over pictures of ex-girlfriends. The mention of his extensive list of producers is noteworthy because the last album was almost exclusively Dre. It would've been nice to see a bit of discussion about the sheer diversity of the tracks Game raps over. The CD layout seems to have been aiming at a something for everybody approach but falls short with the finished product. Three and a half out of five stars.
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