Film Review: Trash Humpers

Full Title: Trash Humpers
Director: Harmony Korine
Year: 2009
Comments: Humping. Shagging. Forincating. Fucking. Whatever you wish to call it; it is a perpetual aspect of our American lifestyle. Trash: our ubiquitous used condom, the leftover, the thrown away, the skeleton of us. What happens when these two social phenomenas meet? The latest work of director, Harmful Korine. Being a massive fan of Korine’s first motion picture, Gummo (1997) I greatly anticipated seeing this film, in fact this was arguably the highest anticpated film for me in ages and certainly of this year. Having missed out on the various screenings of Trash from the past two years I put forth a valiant effort to order it from Amazon (it has been banned from Netflix!) and after a lengthy process it finally arrived. Quietly, I locked myself in my room and zoned out for a good hour and half (or whatever the running time is). As viewers we are presented with an “artifact,” as Korine has called it, this found footage, old school, raw, analog, VHS looking piece of work. And yes, right from the beginning, we watch thee miscreants hump trash like there’s no tomorrow. With no real dialogue or explanation we see non-linear scene after scene of the trio’s pastime, which include, but are certainly not limited to partying, setting off firecrackers, coercing their “slaves” to eat certain things and entertain for them, and of course murder. Of course. As can be expected with old Harmful’s cinematic experimentations, convential movie standards are obliterated and when we get any sense of insight about who these people are what their story is, this insight is severed. The film is completely chaotic, but amidst this bedlam, real emotion is communicated. As wildy and wacky as Trash can be, Korine manages to connect with his audience and even feel for the savage stars on screen with a unique finesse, unmatched in the undeground or aboveground film circuit. I honestly don’t know what it is sometimes. I mean, don’t get me wrong, Korine is clearly talented, but I feel like in someone else’s hands, I would view this as, well nothing more than trash. But, instead he takes the lowest of the low and transforms this filth fest into a genuine artistic expression, albeit a harsh, relentless, visual and audio assault on the viewer. This is extreme, fringe cinema; out of all the found footage films I have seen, this one has struck me the hardest. It looks very real (though it is totally ficticious) and never lets up. Not once does it feel like a film… ehhh, one or two exceptions, but I don’t want to delve into those scenes in this review. I will say, I am hesitant to call it a masterpiece, just yet, but it is an original, challenging, piece of art that is easily one of the most thought provoking films I have ever seen. With comparison to other Korine films, let me say I don not enjoy this nearly as much as Gummo. I found that to be far more entertaining and I loved the way it swtiched things up constantly, with never a dull moment, even mixing the conventional with the unconventional. Now, I do prefer Trash over Mister Lonely (2007), Korine’s last film, which moved closer in the direction of a more mainstream/conventional film. Trash is akin to Harmful returning to his old form, so I’m glad about that. With that being said, at times I feel a bit bored, or like the film has run its course. This only happens a few times, but that’s enough to note. The film simply lacks the constant barrage of lurid images that Gummo contains. Don’t misconstrue me, it has a plethora of nasty, shocking, and definitely impressionable images, but not consistent enough for my taste. I feel like the film’s length could use a little truncating. But, it really doesn’t matter what I think, Korine made his film, the Great American Movie. If you are intrigued by the art of trash humping, I recommend it.

Grade: To slap a letter grade on this is kind of pointless, considering the criteria I usually require for films, by and large, cannot be applied here. So, I will judge it on an emotional level (and it certainly is filled with emotion- the last fifteen minutes is one of the most unsettling scenes/endings my eyes have ever witnessed). In the words of Anthony Fantano, I am going to give this a strong 7 to light 8, probably leaning more towards 8.

“I TOLD YOU I’D KILL IT!” For one of the KLYAMers, this is one of the best scenes in all of film. I agree it is great and it is definitely one of the funniest/most disturbing scenes in the the feature and perhaps of all time for that matter.

CD Review: Outside [2011]


Band:
Tapes ‘n Tapes
Release: 1/2011
Label: Ibid Records

1. “Badaboom” – A
2. “SWM” – B+
3. “One In The World” – A-
4. “Nightfall” – B-
5. “Desert Plane” – B+
6. “Outro” – B-
7. “Freak Out” – B+
8. “The Saddest Of All Keys” – B
9. “Hidee Ho” – A-
10. “People You Know” – A
11. “On and On” – A-
12. “Mighty Long” – A

Comments: Tapes have always had a ‘bigger’ feel to them, but it seems more manifest on this record. They can pull a ballsy Kings of Leon on “SWM” and a fine orchestral sophisticated, extralocal Vampire Weekend esque swag on “One in the World.” The horns don’t disappear on “Nightfall,” which is a bit of a mess of a song. “People You Know” has a moderate Walkmen feel complete with a soothing organ and a tranquil rhythm. Just awesome. On that note, the last four songs on here rule; the sound that dominates on these songs is the sound that won me as a fan of the band. T+T keeping things simple and slowed down is best. I’m going to try to let the lower graded tracks grow on me. There’s a lot to like on here.

Grade: B+ (88)

Tapes ‘n Tapes play at the Paradise Rock Club on February 3, 2011.

Band Recommendation: The Carbonas


Last.Fm Blurb: “The Carbonas (formed in 2001) hail from Atlanta, GA, home to some of the most exciting new bands to hit the scene in quite awhile. Along with The Lids (now defunct), Black Lips, and up-and-comers like The Frantic and Beat Beat Beat, The Carbonas are turning Atlanta into the next Seattle. Or Chicago. Or something like that. You know what I mean. After releasing an LP ages ago, they jumped to the front of the hot bands list with release of the jaw-dropping “Frothing at the Mouth” EP over the winter, which had reviewers worldwide spitting hyperbole all over themselves.”

The Deal: I’ve always heard about the Carbonas, but never really gave them a sufficient check-out. It’s never too late to get into a band, so even if I’m a decade late on this one that’s all right. I really like what I’m hearing. Counted amongst members is Gentleman Jesse who plays bass.

Song: “Phone Booth”

Live Footage Of The Day


Honorable Mention: Nobunny @ The Strange, Los Angeles – A fight at a Nobunny show? Nah-uh! Brief synopsis: Nobunny performs ‘Live It Up’, but cuts it short as a mess of shit brews in front of him. Even a request from Nobunny for “everyone to stop fighting, please” was made, but did not prove to be much of a difference maker. I felt bad for one of the club’s employees as he seemed pretty chill about wanting the audience to calm down and let the show go on, but there were some individuals in the front who just weren’t cooperating….one even attacked the man with her shoe (as seen in the video). The PA guy I got to admit was pretty hilarious at the end there: “And you guys are fucking school teachers? What the fuck?! Is that what you are teaching our youth of America? Be drunk bitches at shows? That’s not girls. Not drunk girls. Not drunk women. Drunk bitches!” Some other guy gets on and says “So on a lighter note, did anyone hear that Captain Beefheart died today?” I wonder what happened after this footage cuts out. [WATCH]

Top PrizeThe Growlers @ Crazy 8’s, Cathedral City, California – A/V quality is not the best, but it is good enough! Captures the essence of The Growlers quite well. It’s great seeing such a nice crowd of people that are quite into the performance, especially the extremely fine ladies (girl in the green, word!) up in the front.  [WATCH]

Charles Manson: An American Superstar

Charles Manson: An American Superstar

He is a beloved recording artist, his image has been plastered everywhere from tee shirts to tattoos, and he has legions of devoted fans. No, not Bob Dylan, this 60s icon spent his entire youth in and out of prison. His name is Charles Manson, a name practically synonymous with mass murder. Manson and his followers, known as “The Family” were convicted of the Tate-LaBianca murders in 1971. In spite of or because of this, he has been given celebrity status as if he was a movie star or baseball player. His infamy is eerily commonplace in various areas of our pop culture. One can turn on the TV and catch his character portrayed in such comedy shows as “South Park” or “Family Guy.” In fact, it was through an episode of “South Park” where I attribute my earliest memory of Manson. I remember watching a SP Christmas special as a child in which Manson appeared as a character with redeeming qualities. Even though it was satire, at the tender age of nine my brain was already invited into the world of one of America’s most feared individuals. Ever since then, his name kept coming up over and over again; I knew he was associated with murder, but even at a young age, I thought of him as another famous name from my parents’ time period. Most people seem to be intrigued by the man and in the American media, Charles Manson has been glamorized to the degree of a superstar. For the television viewing public he has become an object of personal entertainment; just another fascinating celebrity in the league of Michael Jackson and O.J. Simpson.
To begin to understand how or why this character of Charles Manson is so fascinating to the media and the American public as whole, we must start with a look at his childhood. Charles Manson was born on November 12, 1934 in Cincinnati, Ohio. His mother was a sixteen year old prostitute that spent some time in prison when he was a child and he never really knew his father. Unlike most Americans, Manson did not live in a comfortable house on a safe street with at least one, if not two loving parents/guardians and all the other things we associate with typical upbringings. Manson by his own claims and he would claim this over and over again, lived on the streets. He did not know the world of the average American. At an early age it was reinforced that he was different from the rest of America. He was essentially abandoned by the very people whom should have loved him and spent the rest of his childhood years from this boarding school to that boarding school, often running away multiple times from each of them. One time, he tried to be with his mother, but she rejected him. Manson, felt unwanted and unloved and learned to never trust anyone for the rest of his life. With such a troubled past behind him it does not take Sigmund Freud to figure out that Manson would soon find himself deeply invested in petty crime. This included breaking into grocery stores all the way up to armed robbery at the young age of thirteen. He was in and out of juvenile hall centers. According to Manson, he was constantly raped and beaten at said centers and in fact he would run away upwards to eighteen times. His crimes continued into adulthood, basically making prison his new home. In 1967, he was finally released from prison, ironically against his own will; by this time he had spent seventeen years (more than half of his life) in prison.
When Manson left the penitentiary a new world awaited him. A generation had come of age and the Summer of Love was kicking. The 1960s counterculture, particularly in San Francisco, had taken over the nation, so to speak. Long hair, antiwar protests, and psychedelic drugs became ubiquitous seemingly overnight. Young people disdained their parents’ traditions and trashed anything representing the establishment. These kids related to the rebellion of Rock and Roll bands like The Rolling Stones and The Doors and admired the outlaw image of figures like Bonnie and Clyde and Che Guevara. They dug leaders that stood for a new kind of America, one that buried all the traditional values of the America they were raised in and felt abandoned by. Enter Charles Manson, who himself stated, “When I got out all your children would come to me because nobody else had told them the truth.” Of course this was far from the truth as certainly all children did not go to Manson for enlightenment. Naturally, most kids, no matter how drugged up and doped out they were, had enough sense not to join Manson and become part of his “Family.” But, just a few were enough. The man recruited several young, impressionable people, mostly women and was able to brainwash them (often with the assistance of LSD) into thinking he was Jesus Christ or a similar Godlike figure. These women essentially became Manson and would do anything he instructed them to. Even at this juncture in his acting career, Manson dazzled his audience with his intense and fascinating philosophies on life. He had so much control over them that he was able to mastermind his minions into committing the horrible massacre of the Tate-LaBianca murders in August of 1969. Though, Manson was not present, his underlings followed his orders to murder actress Sharon Tate and several others at her home in Death Valley. In prosecutor, Vincent Bugliosi’s book, Helter Skelter he describes the terrifying scene of the crime, “Sharon Tate Polanski-murder victim. Eight months pregnant, she pleaded for the life of her child. “Look, bitch, I have no mercy for you,” one of her killers replied… Only on getting closer did the officers see the bizarre message the killers had left. Printed on the door, in Sharon Tate’s own blood, were the letters PIG” (142). The next night they committed similar murders at the home of Leno and Rosemary LaBianca. Subsequently, the police made the connection between both massacres and the killers and their ringleader were brought to trial. Finally, the whole world got to see Charlie and his angels perform and they loved the attention. This was the beginning of the Charlie Manson Variety Hour, a program the media has eaten up ever since.
During and after the trial (he and his Family were all convicted of murder), Manson’s image became one of the most recognizable in the world. Most famously, his face graced the cover of Life magazine (though he also made the cover of Rolling Stone, amongst others) and this has since become the most famous photo of Manson to date. The mainstream media loved Manson, but obviously portrayed him (rightfully so) as a monster. Of course, if they had made Manson a christ figure they would have lost most viewers, but just by giving him so much attention, he was given all the glamour he needed. The underground press or much of it anyway had no issue with portraying Manson as not only a victim, but another hero of the Revolution, another freedom fighter. At the time, the Vietnam War was boiling and people were taking sides. On one hand was the establishment (Western Civilization) and on the other was anti-establishment, which it turns out in many cases could very well be solely those that opposed the establishment. Thus, Manson became an icon of sorts for the counterculture. Fellow outlaw, Jerry Rubin wrote of visiting Manson in prison following the trial. Rubin, however was not a murderer, but rather one of the leading social activists of the era with a radical sensibility. In his 1971 book, We Are Everywhere, he wrote, “I fell in love with Charlie Manson the first time I saw his cherub face and sparkling eyes on national TV…Manson’s soul is easy to touch because it lays quite bare on the surface. He said he was innocent of the Tate murders and was being persecuted by the pigs because of his lifestyle… Is Charlie innocent or guilty? What is innocence and what is guilt? Can Amerika, after all it has done to Charlie Manson, now put him on trail?” (239-240). Rubin’s sympathy and endorsement of Manson was not uncommon during this era, particularly amongst other subversive and/or underground figures. In fact, in some interviews/speeches, Rubin and others radicals almost sounded like Manson: militant and dogmatic in their attitude and always condemning the American society that turned them into who they were. Of course, the former spoke of liberation, while the latter spoke of domination and annihilation, hardly a freedom fighter,
In the years since his imprisonment, Charles Manson’s stardom has only increased. He has become a massive figure in our American pop culture, he might as well have his star on the Hollywood walk of fame. From books to movies to documentaries, Manson is everywhere. To this day people, particularly young people, follow, worship, or are at least fascinated by Manson. Why? This can be attributed to Manson’s lack of respect for authority. His sense of anti-authoritarianism, at least on the surface, and individuality is attractive to young people, whom are finding themselves as well. Secondly and more significantly, in general the public loves a juicy story, and when it is a celebrity, it is all the more entertaining. The bizarre, the unusual is a big dollar. And the Manson murders were anything but usual and have since become one of the most famous murder cases in history. After his imprisonment, he received numerous interviews on national TV from some of the most famous reporters of all time including Geraldo Rivera, Charlie Rose, Tom Snyder, Diane Sawyer, and others. With the help of the Victims’ Rights Movements, this trend of interviewing serial killers has dyed down over the years. Ultimately this media coverage does very little to nothing for society, except make us crave Manson and other serial killers all the more. When we watch said interviews we do not gain any knowledge or further understanding. Admittedly, they are entertaining, but they mask themselves as something more. But, there is truly no moral purpose to interviewing Charles Manson and giving him the time of day for millions of Americans to tune in to him in their homes. When all is said and done, it is nothing more than cheap entertainment, which is okay, but should be acknowledged as just that. It is no different then any other tabloid, celebrity story. Though Manson is still quite famous, it is for the best that he receives less and less attention, so instead we can focus on real issues rather than fascinating stories to satisfy our taste for the peculiar. In one of his famous prison interviews, Manson was posed the question, “People look at you today, twenty years later and they still have no idea what you’re about. Tell me in a sentence who you are.” After making a series of comical faces, he replies, “nobody.” And there you have it, no one knows Manson as well as Manson himself. For once, I agree with Charlie, he is “nobody,” just another celebrity in a sea of celebrities.

Classic Film Review: Pink Flamingos

Full Title: Pink Flamingos
Director: John Waters
Year: 1972
Comments: Now, I’ve seen my fair share of sick movies, but this “exercise in poor taste” brings disgusting comedies to a whole new level. Waters places his viewers amongst a sea of vile characters, and adimittedly this is style over substance. Drag Queen, Divine fights with her criminally insane counterparts, Connie and Raymond Marble for the title of “the filthiest person alive” and will stop at anything and I mean anything to wear the crown; in the ninety or so minutes of this film, wild, campy, cinematic fringe entertainment (depraved humor and chaos) ensues! Particularly I love the look of the film: trashy, video, stock footage vibes, as if you are viewing The Mansons Family’s home movies. This look has clearly influenced Justin Kelly’s work in the Hunx videos. All in all just a terrific peek into a bizarre, warped world, most of us would never dare to enter. Hilarious, stupid, vomit inducing, but best of all original. I recommend this to anyone that wants to see an offensive, off the wall, no holds barred comedy.
Grade: A-

Who Did It Better? “Have Yourself A Merry Little Christmas”

Well, hello there. I hope all of you are having an amazing Christmas! So, let’s dig into today’s segment of Who Did It Better, shall we? There are so many different versions of this Christmas classic, but here are some notable ones.

Old Blue Eyes sings his heart out.

I really dig the backing vocals.

And here Conor tops Sinatra with this Bright Eyes version.

This song exemplfiies what is great about BE: extremely passionate, somber vocals, practically whispering the words.

And here’s the grandaddy of them all:

Judy Garland- Have Yourself A Merry Little Christmas

This is my favorite Christmas song; it is not a jingle nor a carol and has more emotion than just about any other holiday song one cares to name. Specifically, I adore this version because of Judy Garland’s exceptional vocals, it just makes the music feel all the more sentimental, in a very good way.

But, what do you guys think?

Boston based shows/fests – DIY, punk, noise