Category Archives: Art

Classic Album Review: Lifted…

Artist: Bright Eyes
Full Title: Lifted Or The Story Is In the Soil, Keep Your Ear to the Ground
Year: 2002
Label: Saddle Creek
Comments: Ok, so this review will be a la Glen. For the past two years I have adored Bright Eyes’ I’m Wide Awake It’s Morning; it’s in my top ten favorite albums of all times. Now, I’ve heard some songs from various BE records, but I have not heard another album in its entirety, until now. And I must say after experiencing another BE LP, I am not as moved, sonically or spiritually. I tried my darnedest to get into this record, but it just wasn’t happening. I gave it 4/5 listens and it just never sent me flying off my rocker like IWAIM did. I’m suffering from classicalbumism, where you hear one album by an artist and you want everything else to sound like that gem. Well, don’t misconstrue me here, ‘Lifted’ is a sound recording and certainly worthy of at least a few listens. In fact, many of the styles later employed on IWAIM are displayed here, perhaps in a less accesible manner. The opening track, “The Big Picture,” however, drags on for far too long and would benefit from some trimming. On a positive note, I think Conor Oberst’s trademark, minor caterwoul and humorous declaritive language serves as a highly memorable way to close the LP in “Let’s Not Shit Ourselves (To Love and Be Loved).” Haha, great title! So, I have decided to leave this ungraded for now; time will tell how I feel about it. Who knows, in a few months, years, possibly, it may appear on my list of favorite albums. It has happened before.

Chris

REPRODUCTION ET AL

By Glen Maganzini [Written for College Writing]

In our modern age, or at least since the twentieth century, art has been defined on broad terms. Interpretations of what art really is supposed to be are, for sure, more than what is necessary for a subject that seems to have endless bounds. Putting limits on what one perceives as “art” is as comparably and fundamentally fraudulent as putting limits to free speech. To even remark on art, be it performance, drawing, or anything really, is to endeavor to repress whatever the original author intends to convey even if the critic speaks of the work in an affirmative manner. A simple introductory example would be noise music.
Continue reading REPRODUCTION ET AL

Summer 2009 Blockbuster Comparison

The following essay was for my Cultural Studies class, therefore it’s not of the same quality as my other material. Read it anyway lol.

Inglourious Transformers
I see a few newly released films each year and sadly most are of average quality. Last Summer, I saw two movies in particular that stood out; one was quite exceptional and the other was pure garbage with some mild entertainment. The former was Quentin Tarantino’s war film, Inglourious Basterds and the latter was Michael Bay’s Science Fiction film, Transformers: The Revenge of the Fallen. Both pictures are similar in some ways and at the same time, there is a world of difference between them. In terms of culture, Inglourious Basterds is of much higher art than it’s counterpart, Transformers because director Quentin Tarantino has far more “cultural capital” than his rival, Michael Bay.
Both Inglourious Basterds and Transformers are action films in their own unique ways, but Basterds does not rely solely on special effects and fun filled mayhem to dazzle it’s audience. There are various similarities between the two movies and it should be noted that each obtained well beyond it’s fair share of box office/commercial success. Both had gun shots, explosions, “good guys, “bad guys,” gorgeous females in leading roles, and a healthy chunk of humor. Without seeing both features, a cultural theorist may rush to rule both films as equally “mass art,” merely manufactured products to be gobbled up by millions of dumb Americans as Matthew Arnold would contend. Of course major corporations financed both films and as I previously mentioned each profited quite well at the box office, but it seems clear that there is much more to IB than simply “action” that makes up most of Transformers. IB focuses on World War II and particularly the fall of the Third Reich at the hands of the “Basterds,” a band of Jewish American soldiers. Of course this is not historically accurate at all, but it still gives the film more depth than a light hearted flick about robots. IB also features various references to older, spaghetti western films and obscure war films as well as other aspects of both American and European culture. Tarantino’s cultural capital certainly adds to the “higher quality” of the film.
As I previously explained, both movies can fall under the action genre, but the styles of action displayed in each film makes one high art/culture and the other low art/culture. In Inglourious Basterds, scenes are built up with suspense and clever dialogue. This suspense then erupts into bloody battles and shoot outs and so on. In contrast, in Transformers, the action is not stylized and is mostly non-stop, relying on special effects and very little suspense. The film utilizes most of the conventional techniques Hollywood blockbuster/popcorn movies usually employ, but no substance to balance out the mindless mess. The old phrase, ” a spoon full of sugar makes the medicine go down” comes to mind. In this case, there is no medicine and moviegoers are being inundated with pounds and pounds of sugar, mentally consuming as much junk as they purchase in movie snacks. Clearly, if Arnold was alive today he would use Transformers as a chief example of low/mass art.
In short, although both films, Inglourious Basterds and Transformers: Revenge of the Fallen can be seen as action movies and worthy of commercial success, Basterds definitely is of higher art/culture than Transformers. Writer/Director, Quentin Tarantino effectively used his cultural capital of historical and cinematic knowledge to make a greater film. The action was entertaining, but carefully balanced with extraordinary acting, memorable dialogue, and superb character development. Michael Bay, on the other hand, merely made a big special effects movie, he knew people would rush to the theaters to see, enjoy, and never ponder over anything meaningful to the human experience.

Chris

CD Review: High Places Vs. Mankind

Band: High Places
Release: 3/2010
Label: Thrill Jockey

1. “On Giving Up” – C+
2. “She’s A Wild Horse” – B-
3. “The Channon” – C-
4. “Canada” – C
5. “Constant Winter” – B
6. “On a Hill in a Bed on a Road in a House – C
7. “Drift Slayer” – C
8. “The Most Beautiful Name” – C+
9. “When It Comes” – B

Comments: I can’t believe I’m listening to the same High Places that I saw in concert back in July 2008! “On Giving Up” would make you think they are a electronic dance music duo from way back. The next song and beyond sort of proves that was just a one time deal. They are an experimental group after all. When Ben’s girl Mary doesn’t sing the result is kind of meh. When she does sing, the result can be anywhere from pretty good to pretty average. The dream/electro-pop of “Constant Winter” is where I think the band excels the most…in general in that style of music. “On A Hill” is pretty damn eclectic. “Put me down in the earth” sings Mary on the last track, which is, to no one’s surprise, about the end of life. High Places is a pretty tolerable experimental band for me and for that I applaud them.

Grade: C+ (77)

Classic Album Review: Revolutinary Vol. 1

Artist: Immortal Technique
Full Title: Revolutionary Volume 1
Label: Viper Records
Year: 2001
Grade: B+

Keyword: REVOULTIONARY. Many refer to themselves as revoltuionaries, whether it be a Republican Congressmen from Texas or a radical nerd on his blog, but few can back it up. Immortal Technique is part of this rare breed. He is the closest example of a musical Che Guevara, if there ever was one. Before the listener even hits play, he/she is already bombarded by tech’s intense dissidence in the cover art: masacred police officers and the hammer and sickle a la Soviet Union. But, unlike dem pinko commie fags, tech’s Revolution (at least musically) succeeds because as he says it is, “built out of love for his people and not hatred for others.” The album opens with a solid 9 in “Creation and Destruction.” It basically foreshadows everything the MC is notorious for: violent lyrics, intimidating delivery, and uncompromising politics. This continues throughout the record, while he delves into such untouchable topics as police brutality, corporate media bias for the elite (“The Getaway”), the racist, White, economic, class structure which leaves poor people, mostly blacks and latinos, but also whites, and millions in the Third World concerned only with day to day poverty rather than developing Socialista philosophy to rise out of this trap (“The Poverty of Philosophy”- Spoken Word), and the harsh and regrettable reality of thug life, (“Dance With the Devil”). The latter is arguably one of the most horrifying tracks I have ever heard. Tech’s disturbing lyrics paint a petrifying picture of rape and murder. Overall, this is a sound record one of the finest from today’s greatest hip hop star. You would be hard pressed to find another rapper with as much skill, integrity, and hardcore style. To add to this hardcore reputation, all of the raps were created while he was in prison. Take that Fat Joe, you Fake, Fat, Fuck! Not that I’m in any position to criticize, with absolutely no street credibility WHATSOEVER! But, that’s alright, at least I’m not Billy Jacobs. You’ll have to listen to this album to know who Billy Jacobs is!

VIVA LA REVOULTION!!!

Chris

Malcolm X’s Final Scene

This is the final scene in the epic, Spike Lee film, Malcolm X (1992), one of my all time favorite movies. Sorry, to give away the ending ahhahaah. I highly recommend watching the ENTIRE film, reading his Autobiography and Malcolm X Speaks , watching his sppeches, as seen on Youtube, etc.

Chris

Negro

Langston Hughes:

Negro (1958)

I am a Negro:
Black as the night is black,
Black like the depths of my Africa.

I’ve been a slave:
Caesar told me to keep his door-steps clean.
I brushed the boots of Washington.

I’ve been a worker:
Under my hand the pyramids arose.
I made mortar for the Woolworth Building

I’ve been a singer:
All the way from Africa to Georgia
I carried my sorrow songs.
I made ragtime.

I’ve been a victim:
The Belgians cut off my hand in the Congo.
They lynch me still in Mississippi

I am a Negro:
Black as the night is black,
Black like the depths of my Africa.

Chris