The first line is funny because it concerns mostly everyone. May 11, 2009

To Whom It May Concern:

My name is Nathan Bullock and you probably know that, either from the envelope or the news. I was (or possibly am) 5’6’’ and weighed 190 pounds. I have brown hair and brown eyes and my left arm is slightly longer than my right. I wear a size 10 shoe and a large t-shirt. I do not have a favorite food, but I ate pork chops last night and they were pretty good. I am in the 11th grade. If everything went as right as possible this is common knowledge, but if you’re going to write the book about me you need a few more details than what the biopsy will show.

I wasn’t trailer trash until someone told me I was. Up until then I wouldn’t have even said I lived in a trailer, or in a trailer park. I would have just said I lived at home. I live with my mom and I am an only child because my dad got cancer and died. My mom says his last words were that he loved me but I overheard my Uncle Terry say that he just said he was cold. I don’t know my mom very well but I think that is less because she works a lot and more just because she is my mom. Sometimes I wonder if she dated anyone before my dad, or if she ever wanted to be a scientist or a lawyer when she was a kid, but there never seems to be a good time to bring it up.

My room is small and clean. I have a window next to my bed and I can look at the sky when I lay down but it is usually cloudy. Our house is near to a highway which is near to a hospital, so the sirens sometimes keep me awake. Dead people were probably moving past my bed in those ambulances but it never really bothered me much. People who were dead were just dead and didn’t really care about anything so I never really cared about them. The ambulances sometimes blow their horns at the people driving on the road and I usually laugh at that.

I had a friend and her name was Janice. She was never a dancer but would have liked to have been. She found a VHS tape at a garage sale of people doing ballet and she was very sad when it broke. From the highway to our park there was a small patch of dirt road before the pavement of the park would start and you could tell when she had walked on it. Every ten or twelve steps she would point out her toe and do these little mock pirouettes, tracing half moons in the dirt. I have seen her do it and when she does she lifts her arms slightly, pointing her hands at her hips but not touching them. I slept with her once and it was not good. I was not surprised when she was gone in the morning, but we talked afterwards and it was OK.

My school had all the grades from six to twelve so everyone was sort of angry all the time. There was always something someone had done last year that the other person didn’t like, but they had to talk to them and be nice because there was no one else to talk to. So people were only sort of angry most of the time.
I have never been in a fight but I have come close. My favorite teacher was Mr. Andorelli. He taught History and watched CNN on his lunch breaks in his classroom and sometimes I joined him. Teachers did not like him but most students did because he would make fun of the kids who didn’t do good in his classes. After school I would leave through the teacher parking lot because it was faster and one time I ran into Taylor Murray. Mr. Andorelli would make fun of Taylor and Taylor would sulk and talk in class. That day Taylor decided to drizzle Mr. Andorelli’s car with yellow paint, and I saw this and I told him he should stop. He asked me why and I said because Mr. Andorelli wouldn’t like it. He looked like he was going to hit me and then he left. After that I went to Mr. Andorelli’s room and watched CNN with him. We watched for a few minutes and I told him that his car was covered in paint. He didn’t really react the way I thought he would. He just ran his fingers through his hair and said yes, it probably was. I think about that sometimes when the ambulances go by.

The only time I tried to have a conversation with my mother it was because my hand hurt. I started waking up every now and again with my hand all clenched in a fist and I told her because it was uncomfortable in the morning. My knuckles were sore. My mother was usually getting home from work when I was awake. She worked hard and never hid a bottle in her purse, but she did sometimes leave pills out in the open. I told her about my fist and she said not to worry because it was just a hand.

I never really went to the parties. People I knew went to because they were always saying they were going to be fun. I was never really in need of fun. I was fairly content with what was happening. Janice told me to come to one, so I did but I left shortly after we got there. There was alcohol soaking into the shag of the house it was at and kids were playing an old piano badly. I told Janice goodbye and walked home in the middle of the street the whole way. A car went around me and honked so I waved.

They are probably saying that this was all because Janice died but that isn’t totally true because she was just dead and it never really meant anything. All the kids said Taylor put something in her drink and people were sort of angry but there was not really anything they could do but be angry. The ambulance sound came up the dirt road this time. I guess she had done it herself with her father’s pistol, which I suppose was a good thing to do because her dad would have done it anyway on account of the baby. Probably. But everyone was really sad and they would ask me if I was sad and I usually said yes but sometimes I would just say nothing and they would pat me on the shoulder. A priest told me she was in a better place now so I guess he liked wooden boxes.

I would have liked to have seen the ticker. The words running across the bottom of the screen, usually with more facts about whatever news story was running, sometimes breaking weather alerts or celebrity sightings. I asked Mr. Andorelli why they did this and he said it was because people love to be sad and angry at the news so the more news they put on screen the more people would watch their channel. He said tragedy is a seller’s market. That made a lot of sense to me.

You will probably go with a well known journalist or writer, and I don’t really know any but you should pick one that has done this sort of thing before because I want it to be good. I have been mowing lawns since I was ten and I have all the money saved under my mattress because people would tell me I should save it but when I asked what I should spend it on they never really had an answer. Some would say a car so I could drive my friends around but I only had one friend and she liked to go to parties and I didn’t so that never appealed to me. So I went into town and retained a lawyer to cover my likeness rights. I learned about them on the computers at my school. I only paid him for a week, but made sure he got a portion of my estate as a retainer, so I assume he will still work for me. His name is Jerry Klingmann and he is sixty-three years old and has no idea why anyone my age would need to have his likeness rights protected but he humored me and took my money and signed my papers. I would guess he no longer will need his pension.

My dad had a gun so I will probably use it but I don’t know what kind it is so you will have to find out. I think it is a revolver. It doesn’t hold many rounds but each one is a charitable foundation waiting to happen. I will probably shoot a few bullets into the roof so everyone hides. I have been working on my aim so I won’t hit anybody I don’t want to. I hope they all duck under their desks and tables like they do on television because I could never help but laugh when I saw them do that.

I will shoot Taylor though because he probably deserves it, and maybe someone else but not so they are killed. Somewhere non-lethal, like the fleshy part of the thigh. They won’t deserve it but it will give them something to drink about, like Janice’s dad who told us he had lots of whiskey because of a war he was in.  Taylor won’t really care because he will be dead, and I doubt I will care either, because he is just dead and not really anything to worry about. Maybe I will shoot him in the chest and make him care for a little while. Somebody will run their fingers over his eyelids and that will make me smile and they will notice. They will write a poem about it and I’ll get paid for that too.. A few cracked eggs, they will say, and they will be right.

Maybe a round will stray and hit someone outside a window, someone walking their dog or taking out the garbage. Two feet to the left, a minute later, they would have been fine they will say. They’ll talk grimly about how random things are.

After all that I will probably shoot myself, not because I want to but because it seems like the thing you are supposed to do, and you need an ending to write about. In their darker moments people who threw the parties will probably spit and say I had my fun and they will probably be right.

I don’t really care for the things but I have bought a few video games for you to choose from. There are a few movies in the house, and I think there are a few with guns in it. Books were never really my thing, but I have a few comics and tapes in my room. I will probably add to them just to give you a nice selection. One of these things probably set me off, so I will leave it to you to decide which.

I figure that you and your competitors will probably all write a book so I have sent this to them too so that way my mom won’t have to work again. She works too much and I don’t like that. Janice sometimes said that being a dancer was probably hard work, so I hope I can bring myself to do this because being famous is probably just as hard, but that is only if you are famous and living. Being famous and dead is just lucrative. This way I can just skip to the finish.

Anyway, there is a mailbox outside my school, so I will drop this in there and hopefully it makes it to you. If there was some way you could tell Mr. Andorelli that I was sorry I couldn’t do anything about his car, that would be great. I always wanted to tell him that. I don’t think I will care if you don’t, but if you could, that would be OK.

Sincerely,

Nathan Bullock.

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Every Little Bit Helps April 5, 2009

Recession proves big business to otherwise stifled platitude industry.

By Clinton Hallahan

As the world financial market downturn drives the world economy into a recession, any glimmer of hope is encouraging, says California businessman and proprietor of platitudes Ellroy Thompson.

Thompson markets and distributes platitudes, a business very nearly driven out of business by eight consecutive years of economic prosperity, a prosperity Thompson was shocked to hear was mostly manufactured.

“They took it all the way to the bank,” he remarked “and almost drove me into the ground.”

With the foundations of global commerce now crumbling, Ellroy says his business is booming. With bloggers and print media pundits alike scrambling for ways to describe the widespread panic and hardship, Thompson says he is nearly swamped with requests.

“I had “in times like these” and “pinch every penny” stocked on the shelves for miles”, said Thompson on Tuesday, “and now I am scrambling to keep the pantry full.” By Friday evening Thompson’s stock of “recession-proof” and “Wall Street fat-cats” was completely sold through.

Competitors corroborate the increase in sales. Jerry Wilder, a truism dealer from New Mexico is experiencing a similar spike in sales. “Around Christmas I was overstocked on “you can’t borrow your way out of debt”. I was sold out on February 1st.”

Use of timely “Grapes of Wrath” quotations is also set to double from last year.

“If somebody lowers a price on something, people need a way to communicate the gravity of the situation.” Thompson said.

The upturn is not universal, however. Inner-city optimism vendors are reporting the lowest sales since Reagan, and purveyors of dictums are decrying the offenses being made daily against their craft. Ellroy Thompson is unsympathetic.

“I took my lumps and its their turn now,” he said of depressed industries, “its the way things go.”

Thompson plans to use the increased profit to invest in a small cliche factory in Denver, which he sees as becoming lucrative in the post-recession economy. He says the revenue from “not in this economy” and “credit crunch” alone will fund the venture.

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Zack and Miri Drop The Ball November 17, 2008

What on earth happened here?

As if only to demonstrate the adage “much ado about nothing”, it seems the pomp and circumstance surrounding Zack and Miri Make A Porno has turned out to be the most compelling feature of the work. Simultaneously prodding ridiculously squeamish aspects of American culture and pointing out gross inequities within the MPAA (like its anything new), Kevin Smith has successfully created the greatest pre-release circus since Troy Duffy committed ritual career suicide over The Boondock Saints. The fantastic documentary Overnight clearly documents this reality, and sadly I feel it is my job in this review to attest to the same in regards to this latest effort from my favorite purveyor of fine vulgarity.

Kevin Smith and I have a history that extends beyond a striking physical similarity. My entrance to the View-Askewniverse came in the form of 1999’s Dogma, and it for a long time held a special place in my heart as a convenient alternative to independent thought in a time of personal religious upheaval. Perhaps predictably, his films gained a certain prestige in my mind through high school, and their charm persists with me to this day.

Which makes Zack and Miri so hard to understand.

Zack and Miri Make A Porno is not a bad film by any means, and is by no means worse than, say, Mallrats or Jersey Girl. But it does represent what I perceive to be a crisis of voice for Smith. Half of the movie feels like fan service (which is expected and, as ardent fans will attest, appreciated) and the other half feels like it was written for the lowest common denominator. Not exactly poor, but written in a way I would expect the Farelly Brothers to write. The relationship between the title characters just never flies the way you would expect between the solid pairing of Seth Rogen and Elizabeth Banks. No scary layers or complexities here, which is odd considering Smith’s pedigree of having a subtle hand for relationships despite the trademark fifth. The keystone relationship comes off more 27 Dresses than Chasing Amy.

Aside from the marquee attraction, the movie hums with characteristic – if not a touch under par – Smith wit, with Jason Mewes and Jeff Anderson taking on roles other than their seminal Jay and Randal. The Office’s Craig Robinson is just OK in what many billed as a show stealing role as porno producer Delaney, and other cameos include Brandon Routh, Justin Long and a somewhat inexplicable cameo by Kenny Hotz, of Kenny vs. Spenny fame. They’re all capable, but like the film, they come into your house, have a cup of tea and a nice chat, then leave. All together its a somewhat unmemorable experience, even with the 16 frame “shit shot” that gave the MPAA the vapors.

For his next comedy, Kevin Smith needs to channel some of the charm and wit he exhibits in his live Evening with series. With his next film, the apparently “bleak as hell” Red State, it might be awhile until his next comedy, but after Zack and Miri, it might be a time to recharge.

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Let The Right One In, immediately.

What do you say?

What do you say walking out of a darkened theater after having seen the greatest piece of genre film in the last 20 years? What do you say to directing and cinematography so adept, you can see many fledgling filmmakers throwing in the towel, demoralized, assuming they can never attempt to be as good? 

What do you say about a film that is simultaneously among the most heartbreaking and terrifying you have ever seen?

Nothing, apparently. I was struck dumb.

The success of of Let The Right One In will hinge on the breathless hyperbole of those who have seen it, and will be endlessly called “that Scandinavian vampire flick” to anyone who will listen. Based on the bestselling (in Sweden) novel by John Ajvide Lindqvist, the Tomas Alfredson directed film has been a festival darling in its short run, garnering such honors as the Founders Award for Best Narrative at the Tribeca Film Festival. Such hype surrounded its release, Cloverfield director Matt Reeves had signed on to do another adaptation of the novel before the film even hit theaters.

Sweden forms the Hobbesian backdrop for this endlessly inventive horror flick, with somewhat disturbed Oskar meeting his next door neighbor Eli. With a stunning eye for contrast and a striking color palette, the movie takes a note from Hard Candy and has you sympathizing with the monster it centers on, and lets you feel the conflict of your sympathies.

The film explores violently frightening aspects of the fictional horror mainstay in a far more satisfying way than was explored by Joss Whedon or Bram Stoker. Let The Right One In just may be the new benchmark of horror, and its arguable it has made a claim to a reputation in the annals of film as a whole.

In school, we were never allowed to do book reports on horror novels. Stephen King, Anne Rice and H.P. Lovecraft were taboo, the Catholic school board none to keen on their content. I have a feeling if they were to experience the beauty Let The Right One In imbues utter horror, they might redouble their efforts to keep it away from us. 

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Asobi Seksu overcomes genre stereotypes, immigration laws to play in Vancouver November 16, 2008

My friend leans over to me and says “I’m scared”. We are standing in front of the stage at the Media Club. Asobi Seksu is set to take the stage shortly. It’s dimly lit as usual and we are sipping at pints of lager. There is a man sitting behind the drum kit tapping out beats and fixing the arrangement to his liking. The conversation around us is muted and casual. The crowd is mostly 20-something hipsters and 40-something Japanese ex-pats, and the piped-in music is mostly mellow. So I mostly can’t figure out why he would be scared.

“Because,” he says, “I think that drummer going to knock us flat.”

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Chuck Klostermann once made a joke about rock critics complaining about how no one ever shows up to Comets On Fire concerts. I would lump Asobi Seksu into that same lamentable category, and their last full length album, Citrus, certainly merits more attention than they get. It’s their Blue Cathedral, their Blonde on Blonde, or their Slanted & Enchanted, to complete the idiom. 

This might have something to do with their prior inability to get past Canadian border security, but that is hardly an excuse.

Asobi Seksu (colloquial Japanese for “playful sex”), the brainchild of frontwoman/vocalist/keyboardist/closet drummer Yuki Chikudate and guitarist James Hanna, play to a certain kind of sound. Between crushing drum fills, glassy-eyed riffs and hooks and covers of The Crystals’ “And Then He Kissed Me”, it’s not hard not to see why they are often described as “shoegaze” rock, with all the My Bloody Valentine and Lush comparisons that inevitably accompany such designations. But with expert pop structures and an astonishingly unique level of emotion, Asobi Seksu carve out a niche that sets them apart from standard New York City indie fare.

Chikudate writes the lyrics in both Japanese and English, and whatever end of the translation spectrum you fall on, the result stays the same. Her lyrics wrap you up, sometimes seductively and sometimes with a platonic warmth that seems contrary to their Manhattan scenester cred.

**********************

The band took the stage and ripped through Citrus standouts “New Year”, “Thursday” and “Strawberries”, as well as older favorites such as “I’m Happy But You Don’t Like Me” and a new track entitled “Gliss”, all testaments to full bodied walls of broad guitar and tight, sharp drumming. They closed out the night with “Red Sea”, and the departure of drummer Larry Gorman to the green room let Chikudate beat on the drums for the rest of the outro, making her resemble a petite, Asian Vinnie Paul, with the headbanging and hair flips to match. It was a departure from the rest of the night, where I stood three feet away from this pixie making love to the microphone, pulling us in with an understated enthusiasm, her eyes closed in concentration and ecstasy.
When she did open them, there were no shoes involved. They were trained wholly on the adoring – if somewhat docile – crowd.

Or the back wall. It was hard to tell.

My friend ended up having to leave the front of the crowd. He was so wholly blown away, so utterly floored by a drummer that was as intimidating as expected and a band that was as talented as billed, he needed to get away from the dancing throngs to be able to concentrate on the epic unfolding in front of him.

“I had no idea.” he said. “I was totally unprepared for that amount of awesome.”

At the end of the set, the unique layout of the Media Club stage had Chikudate feeling her way along the wall for a way offstage. She couldn’t find the door.

After the performance I had just seen, I was unsure I would be able to either.

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A Mid-Fall Evening’s “Midsummer Night’s Dream” Reality – UBC’s production impresses, inspires ridiculous titles.

I am supposed to be taking mental notes. Every inch of me is screaming at my brain to not enjoy this, to look at this play objectively and critically. I need something to write about, so there is no time to invest, to enjoy or to experience a drop in critical vigilance.

This is very hard, all because of one missing shoe.

Stephen Heatley tried very hard to make this play difficult. A Midsummer Night’s Dream is the classic “boy-meets-girl-but-girl-likes-other-boy-who-likes-other-girl-who-run-afoul-of-a-bored-diety-and-are-put-under-the-influence-of-hallucinogens-hilarity-ensuing” plotline most often seen on primetime teen soap operas, emulated for its utter simplicity. Heatley’s production ups the ante by doubling characters who are playing a role of the opposite gender. So we have a boy played by a girl in love with a boy who is in love with a girl played by another boy who is wildly in love with a girl played by a boy, with a supporting cast of numerous transgendered characters, often with some playing other characters of various genders. While this all seems basic and straightforward enough, there was often times I had to shake myself and remember who was who. Though the program cites this as an “additional challenge” taken on by an “immensely talented” graduating class, anyone who has taken a drama class or been involved in a production can attest that the ratio of women to men in dramatic arts skews to females in orders of magnitude. As a result, it becomes less an instance of carnivalesque and more an issue of personnel.

Not that I can pay attention to any of this because of a single sneaker.

The curtains nearly grazed my nose I was so close. I opted (read: was forced into due to tardy ticket purchasing) for front row tickets and in the packed Fredric Wood Theater (not the more prestigious Chan Center, mind you) I couldn’t help but wonder how old the place was. The design screamed sixties but the theater itself felt older, more experienced than that. The actors took the stage not in a cold open, but militarily, lined up in front of unmarked cardboard boxes presented as the curtain split. They are dressed in drab underclothes, a shirt and trousers, colored slightly auburn, like a russet potato. They all introduce themselves both their real names, the character(s) they portrayed and the costumes they would don over the unremarkable (yet ultimately distracting) underclothes. As one cast member would introduce themselves, the others would busy themselves with costuming themselves for their roles, a masterful display of coordination and preparedness.

Except Bottom (Kim Harvey) has forgotten a shoe. Her sock foot perpendicular to her leg, raised at me in defiance. It is this shoeless foot that will haunt my brain for the next two and three-quarter hours.

I cannot imagine William Shakespeare knew the impact his little comedy would have on literature. Midsummer is prevalent and enduring, I believe, because of its accessibility and its endearing plotline. This, as a result, is usually what production teams tend to focus on, eschewing characters for conveying the plot more clearly. I have personally seen three productions previously and preformed in one and this is the first time where the characters stayed with me past the closing of the curtains. Kim Harvey is pitch perfect as Bottom, layering bombast and pretension near effortlessly and creating the necessary pitiful character Bottom’s need to be memorable. Almost as memorable is Yoshie Bancroft as Quince, a secondary character at best yet in this instance both troubled, tender and often hilarious (aided in no small party by her reckless chauffeuring of her troupe around stage on the ever achronistic golf cart).

Sarah Afful, on another note, presents a quandary. She is simultaneous the most unique and frustrating Puck I have ever witnessed. Tonally, the director put the entire play on her shoulders, and instead of the mischievous and playful nymph we are so used to seeing, her delivery comes off, in a word, sinister. She drags the timid and whimsical storyline into an atonal odyssey through the dark and frightening depths of witchcraft, adding a slightly hellish quality to the production. Even the lighting aides in this, relying far more on shadow than is optically conducive to a pleasurable viewing experience, utilizing the lighting of onstage set lights often to light entire scenes. The set, while sparse, is littered with only the most grotesque and evil looking of trees. This, like the “dark” remakes of various comic book characters during the early 90’s on the success of Spawn, (a black suited Superman, Captain America’s shield drinking blood, et al) works to varying degrees. It also marks the second time I have seen a Shakespeare play end with a musical number, though the difference between the two was akin to the difference between a Hillary Duff and a Marilyn Manson concert.

After the play, my companion for the evening lamented, “It was creative an all, but I cannot help but always be off put by Midsummer.” When I inquired to the reason for this she said, “It always bothers me that the happy ending is the result of unscrupulous and unethical use of a love potion. There is no real love outside that induced by magic. Seems kind of hollow.” I replied “Yes, but you cant deny the appeal of a happy ending, no matter what kind of intoxication is needed to get there.”

The shoe reappeared the first time it was needed past the introduction. I wonder where it went.

3.5 out of 5 anthropomorphic donkeys.

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