Woohoo/Boohoo: Popery vs. Potpourri March 2, 2010

The Peak does a section on page 3 that pits two often similar sounding things against each other. I did this one. It’s fairly self explanatory.

Woohoo: Potpourri

Want to know the secret of success? Smell goddamn delicious. I have it on good authority that JFK smelled of fresh lavender at all times, and everybody loves that dude. Potpourri is that dried leaf type stuff you find in the bathrooms of suburban 40-somethings, and it’s one of only two things that particular demographic gets right (along with listening to Fleetwood Mac). Potpourri is like Armani for your WC. It adds instant class and respectability to a place that at times sorely lacks either. Great for hobbyists and professionals alike, potpourri is the original populist accoutrement with most of it’s ingredients cribbed from around the house. Listen to The Cure? Throw some cloves in there. Alcoholic? Lemon peel! Japanese? Toss in some jasmine. The choices are as endless as the addiction you’ll quickly acquire. Hitting the vein has never been this fragrant.

Boohoo: Popery

The best advice my father ever told me was to never trust men in large hats. It seems like every good religion has it’s own fashion agenda. What is he hiding? Popery is like having a dictatorship on top of your dictatorship, with it’s own cardio-based rituals, taxes and social guilt. That collection plate doesn’t take PayPal either. Now, I will grant that the Pope is by far the most entertaining part of Catholicism; Did you know that one Pope dug his predecessor up from the grave and put him on trial? An actual trial, with the skeleton on the witness stand and everything. Forget The Tudors, I want to see The Pontiffs. And what’s all this about infallibility? He’s just some dude like me! I’m infallible hundreds of times a day, and more on weekends and religious holidays. It’s got me thinking about giving up the Pope for Lent. I like my religions how I like my women: decentralized and sporting modest headgear.

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Let The Wookiee Win Week 3: Full Carbonite Jacket February 1, 2010

The following is the third part of a seven part column I am doing for The Peak at SFU. You can read the other ones by clicking the title tag at the left of this post. It’s about Star Wars and how important it is to the world. Why yes I am in university, thank you for asking. Yes, I have kissed a girl before, too.

I feel a little like Milton, trying to justify the ways of Lucas and instead portraying some sort of bumbling God in denim button-ups. Which is to say in trying to portray sombody I like quite a bit, it comes off like he has wronged me in some way. This is not totally the case. While Lucas may have found himself at odds with the standards of his audience and good filmmaking, his mastery of contradictory human nature is, at it’s worst, better than most. This is excellently illustrated with his attitudes towards war and conflict, and is brilliant in the near omission of it’s significance.

In the history of film and television, the most memorable depictions of war are often the ones that run counter to traditional perceptions of military conflict as a glorious and honorable act. Post-Vietnam, these diminutive portrayals became the norm, with Stanley Kubrick nearly creating a career out of taking the piss out of hawks. Now, in an age of guerilla warfare and military excursions with all the popular support of tuberculosis, war has an all too uncomfortable way of getting put to the back burner, forgotten until it boils over. Star Wars raises stakes by not being contrary at all, and instead slapping us with the wet noodle of reality.

Released just eight months later, The Deer Hunter brought the terror of Vietnam to the home front while Star Wars gave the casualties of war all the gravity of a trip to Wal-Mart in heavy traffic. That is to say distressing, but in no way impossible to ignore. Star Wars is almost prophetic in how it’s characters react to prolonged military struggles with marked indifference, ahead of it’s time in describing the numbing of society to matters of foreign war that would define the rest of the Cold War and beyond.

Luke Skywalker’s Aunt and Uncle get killed? He shrugs it off and gets to work bringing down the Empire. Darth Vader blows Alderaan into a million pieces? Ben Kenobi puts his fingers to his temple and Leia is a little upset. She gets over it. Millions killed when the Death Star is blown up not once but twice? No tears for dead Imperials. The death of serial Force-choker Darth Vader is met with the most emotion (and little at that) in a prosaic relationship climax that evokes one of the most horrifying hypocrisies within human capacity; war becomes statistical and distant one moment, tragic and personal when convenient. We could write this off as bad acting, but the consistency of the chilled reaction to mortality forces us to consider it a directorial mandate.

In this the canon is not nearly reconciled. The Star Wars universe waxes between having the foot soldiers of the Empire nee Republic and Rebellion act as foreign policy meatsacks just a little more often than it creates fictions around distinguished veterans. The Jedi are exceptional, the ruling class, so we care about them. The average soldier is less than a volunteer, a clone built for the express purpose of being an expendable unit of a shrewd Machiavel who can shoot lightning out of his fingers. Making the average Stormtrooper a clone of Jango Fett and not a draftee of unjust regime was an embarrassingly fit metaphor for our attitudes towards military personnel.

The primary films disregard Stormtroopers, Republic troops and Ewoks as little more than bullet sponges. Genndy Tartakovsky’s outstanding Clone Wars vignettes straddle the line between the extremes, the clones taking on varying degrees of expertise, but ultimately being the silent, soulless vessels the series more than demands. Recently, as the series takes pains to gain the Sesame Street crowd, they’ve softened this stance to include fairly generous concern for the lives of the average trooper from the Jedi leadership, but at this point it seems token.

Star Wars puts a mirror up to our collective unconscious considering matters military, and the reflection is less than favorable. The nameless, faceless Ewoks and Stormtroopers fight battles a long long time ago in a galaxy far, far away, far away enough that to ignore it is a matter of turning off the (space) television. When it does view war through a compassionate lens, the moments are sparse enough to be arresting, and rarely involve central characters.

Consider this: the single most evocative explication of military loss in the entire series is seven seconds long. Through the frenetic cuts of the final battle on Endor, between Han Solo being suave and R2-D2 being mutely hilarious, Lucas cuts to a lone Ewok running to the front. In the grass is the body of a fallen comrade, a motionless ball of fur on the ground. He stops in his tracks and falls to his knees, cradling his head in his hand with grief. The war is screaming in his brain and there isn’t a title actor around to hear it.

Sometimes Star Wars hits a little close to home. Sometimes we need it to.

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Redditors Need Apply

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Click to embiggen.

A new comic by Christopher Polancec! Woo!

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Don’t Invent Fire January 25, 2010

New comic! From Mr. Polancec himself! Get excited!

Click to embiggen.

Click to embiggen.

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Rebuttal to “TV Is Turning Us Into Idiots” January 23, 2010

The following appeared in The Peak on January 11, 2010 and is a response to a piece by Jonathon Van Maren, also in The Peak on January 4, 2010. It is only being posted now because, you know, I had things to do. Get off my back, you’re not my mom (unless you are, in which case, hello mom).

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We should feel grateful, I think, that Jonathon Van Maren stopped short of waving his cane at us, telling us to get off his lawn and read a book, in his editorial about the evils of television [TV is turning us into idiots, January 4].

From the beginning, Mr. Van Maren co-opts the rhetoric levied against every new medium of storytelling since (presumably) shadow puppets on cave walls. Film, comic books, radio, television and video games have all been targets of similar complaints in turn, but Van Maren chose to focus on the perennial favorite: TV.

Van Maren’s insulting tone aside, he places television at the forefront of social decline. But, like any medium that has received this treatment, this is scapegoating at it’s finest. If anything, social decline is at the forefront of the decline of television (which Battlestar Galactica and The Sopranos may even refute).

But let’s assume his is talking about content versus a waning medium, and, as the Spice Girls have taught us, that popularity does not always equal value. He goes on to state explicitly that “television shows seem incapable of discussing anything but sex and violence”, and in the same breath points to the virtues of literature as a more worthy sink for our time.

I feel the need to point out that, as some of the defining issues of the human condition, these and other themes heavily featured in television are just as prevalent in literature. To ignore them is juvenile and to say that all television is singularly fixated on bayoneting opposing armies and then raping their widows is disingenuous at best. Sesame Street has hardly any intercourse at all, especially since Bert and Ernie broke up. I also feel the need to point out that for every terrible reality TV show, there is a literary equivalent spilling from the pen of Dan Brown, and the like.

Van Maren throws the word “Yale” around like a nightstick, in an attempt to lend his article a little pop-psych credence. He invokes a Jerome Singer (the Yalie in question) that was published over 25 years ago to illustrate how kids will emulate television characters. Ignoring the tempering effect of decent parenting, a kid stabbing a classmate because he watched NYPD Blue is clearly displaying symptoms of some larger problem. In an attempt to bring in readers other than the Helen Lovejoys of the world, Van Maren then brings the falling global fitness level into his argument; he attempts to portray TV as the cause of obesity, as opposed to just eating too goddamned much. This offends me as a fat person.

My complaint, however, is not confied to quibbles with his evidence. There are much larger problems in the broad strokes he uses to paint the medium. He admits that cinematography and literature are two separate mediums, but then proceeds to evaluate them with the same metric. In an article about the degenerative effects of television, he fails to mention a single television show by name, let alone their deficiencies. In fact, he spends more time talking about television journalism than anything, which I would argue is another medium altogether.

Van Maren wrote the article like he had only read about television on the internet. He writes like he had never seen classics like M*A*S*H and St. Elsewhere, nor the modern masterpieces like The Wire and Six Feet Under. He wrote like he’s never seen the work of the master writers like Sorkin or Mamet. He wrote like he never cared whether Joey and Pacey were dating, let alone like he knows who the hell Dawson is and why he owns a creek. The value is there, if you seek it, just as it is in books.

Television is the logical progression of theater media, and we can learn just as much about ourselves from Twin Peaks as we can from Beckett. To pin it as the source of modern human idiocy is as narrow as it is ridiculous.

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Let The Wookiee Win Week 2: Love In The Time of Boba Fett January 19, 2010

The following is the second of a series of columns for The Peak. This week deals with how love is stupid, and how Phantom Menace is stupid, and how when combined they are kind of awesome.

A bunch of years after George Lucas got his rocks off letting the global movie-going populace innocently root for incest, he decided to revisit the franchise that made him grotesquely wealthy. He made a few prequels. You may have heard of them. They were kind of a thing.

The wholesale rape of a series aside, George Lucas did a funny thing: recognizing that love was second only to war (as in, Star Wars) in the landscape of literary devices, he decided to rewrite the entire context of his continuity. I think his goiter told him to do it.

Instead of the epic quest of a band of rebels with the intention of bringing down an empire, Phantom Menace made it the story of a headstrong young Jedi who would enslave a galaxy because he had a dream that his wife might die. Maybe.

This ruffled a few feathers.

And why wouldn’t it? The move made their beloved series of jock sci-fi into the nerd equivalent of The English Patient, with such swagger as to inspire calls for the Lucas himself to be buggered with a Jar-Jar Binks doll. The subsequent, weepy version of the baddest badass to ever rock a cape and emphysema had casual and hardcore fans alike introducing their palms to their faces.

But don’t be deceived; the wooden acting and staid dialogue characterizing the romance between Anakin Skywalker and Padme Amidala is merely the poor technical execution of the most powerful idea Lucas ever committed to film.

It’s awkward from the word go. Our savant slave boy meets the incognito Queen Amidala through a nearly impossible series of coincidences (blame the Force, not the writing), and, throwing reasonable notions of statutory rape to the wind, proceeds to try and woo the 14-year-old monarch as best as his nine-year-old prowess allows (which is to say he showed her his space Lego). Lacking biceps or a wicked automobile, he resorts to clumsiest attempt at flattery in cinematic history, asking her if she was “an angel.” In the best possible distillation of every romantic encounter I have ever had, she looks at him dead in the face, cocks her head to the side and says “What?”

This is the best part of the film, and possibly the best of all three prequels.

Whether intentionally or by accident, Lucas captured one of the greatest and most realistic love stories in Hollywood history, and what makes it so profound is that it almost wallows in its ridiculousness. It recognizes that love is hardly ever the measured, dramatic perfection like we see with Han and Leia in the later episodes, and throws the stupid things we do to the opposite sex at us like a fistful of sand in the eyes.

When Anakin is a kid, all he sees is a goddess, an object of desire. His romantic schooling only goes as far as his mother telling him he was immaculately conceived, likely winking and nudging him the whole time. As he goes through the dogmatically celibate Jedi training, he swims in an ocean of testosterone and midi-chlorians and dreams about her.

Though he has the ability to detect emotions, Yoda and Co. decide it would be a great idea to send a teenager who can crush steel with his mind to spend some alone time with a girl over whom he has Gacy levels of obsession.

Given this opportunity, he awkwardly and directly confesses total dedication to this woman he has spent virtually no time with, and luckily she’s a sucker for a guy with a big lightsaber. In between strained confessions of affection, (and probable explorations of the coital implications of a robotic arm,) they do things like run through a field of wildflowers without a hint of irony.

She gets knocked up, has some twins (who would later totally make out), and, as in every good love story, Anakin goes on to kill millions and set up a cruel dictatorship. What you are feeling right now is the squirming of a million nerds suddenly silenced by the realization that they relate entirely.

Phantom Menace and the love arc of Padme and Anakin was George Lucas’ attempt to take his stories to an operatic level. While the result is more “kill the wabbit” than Barber of Seville, it shows us exactly what our courtship looks like: obsessive, stupid, humiliating, amazing, and utterly central to the life of every person who has ever lived.

Making that primal need for companionship the core of his narrative is just another way Star Wars shows us how we are all exactly the same.

Which is to say, pretty damn goofy.

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John Belushskivich January 11, 2010

Today, I am more than pleased to post up a comic Christopher and I came up with in a hot tub. I find this funny.

Chris really knocked this one out of the park, guys. Give him your kudos.

This comic is in the Humor section of this week’s issue of The Peak as well, so if you’re up at SFU check it out (and a big thanks to John Morrison III).

Click to embiggen.

Click to embiggen.

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Let The Wookiee Win: Week 1 January 6, 2010

The following originally appeared in The Peak. It is an exploration on why Star Wars to this day makes me squeal with girlish joy. It is part one of a seven part run.


It all begins with a flash.

The way to properly shoot a lightsaber battle is not exactly the most creative aspect of Star Wars. You take two stalwart opponents or, say, sparring partners, and have them fling brightly coloured phalluses at each other in a vaguely acrobatic neo-fencing duel and pocket the billions thrown at you by young male virgins.

Visually, you add a few frames of pure white every time one of those phalluses touch, and you get that brilliant effect that has dazzled audiences for the better part of four decades. Like a photographer’s flash, it fills the room and leaves you feeling physically dazed, which is an important dismissal of defenses when presenting audiences with the supernatural.

George Lucas was using this technique to brain-slap crowds years before Pokemon up and decided to give epileptics the finger.

I know a lot about lightsabers. I know how to make one (both where to get the amplifying crystals and how to build the housing) and I know their most revered users (Yoda, Mace Windu, and Shak Ti, to name a few).

Not only do I know the name of the technique Obi-Wan Kenobi used to make Darth Vader into a multiple amputee (“mou kei”), I know this is a predominantly Sith move, which is why that nerd to your left gasped when it happened while you were watching Revenge of the Sith (even though he knew for years what had occurred).

I also know that it’s unlikely The Holy Trilogy would have had the same global impact it did without them.

This information serves no real purpose. It won’t help me seduce a woman, provide for a family, or find gainful employment. But lightsabers are probably one of the most important parts of my life and of the lives of millions around the planet.

A long, long time ago, Robin Williams grabbed his nuts and said poets were way more important than lawyers and doctors. Though he had a lusty preoccupation with Langston Hughes and likely meant that the works of the Western canon were a touch more steeped in value than the Millennium Falcon, the Dead Poet founder was making an excellent point on the value of (dare I say it: pop) culture in a societal landscape that expects such things to be abandoned when entering adulthood.

Though I doubt he expected his students to jump up on a desk and yell “O Captain my Captain many Bothans died to bring us this information,” the sentiment applies.

It’s a worldwide flash. A single relative frame against the exorbitantly long reel of time that everyone can see, filling the room and dazzling them in a language of light and sound. Star Wars is an international handshake and an embodiment of our collective thoughts about morality, relationships, and war.

It’s as accessible to those who have no idea what a Holocron is, as it is to those who have read their share of sapphic Force erotica. If civilization collapsed tomorrow it would still be relevant: its archetypes and lessons are as universal as any Bible, plus Ewoks.

In fact, everything worth knowing, you can learn from Star Wars. And over the coming semester, I aim to prove it.

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Interview: Asobi Seksu

Originally appearing in Beatroute Magazine.

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Yuki Chikudate doesn’t think definition gets you anywhere. Or rather, attempting to define her band, Asobi Seksu – the New York-based shoegaze group – is a fool’s errand.

“This question of fitting into a genre or fitting into a specific sound, it’s always a question that people ask bands,” she says. “I never even really know if that clarifies anything or if anyone is every really satisfied.” Indeed, following the release of the band’s breakout album Citrus, there was an almost fevered attempt to define the band as one genre or another. “We have always agreed with the shoegaze thing; it’s definitely part of our sound,” she says, listing off current and prior influences that have been prescribed to the band almost since its inception. “Hopefully we are growing and evolving as a band with each record.”

Despite the collective effort of journalists attempting to define the band musically, Chikudate admits there are clearly other factors at play. “The fact that I look different, I’m an Asian female…it’s very confusing, I guess, for some people.” The questions arising out of their sound (fuzzed out guitars and lyrics lapsing into Japanese at will), ethnicity and the name of the group (Asobi Seksu means “playful sex” in Japanese) are surprising to Chikudate. “Maybe I’m being naive…I just don’t know where that desire (to define us) comes from.”

Just when audiences were getting a handle on the Asobi Seksu sound and talking in earnest about standout tracks off Citrus such as “New Years” and “Red Sea,” the band threw another curveball and released Hush, an album that leans very little on an established formula. The result is clear in songs like “Transparence” and “Gliss,” representing a side of the band more concerned with tight thesis statements than thick dissonance. “We toured with Citrus for about three years and…we kinda got tired.” She laughs and adds, “I think more than anything our ears got tired.” She says the evolution was a natural reaction to a fatigue with the successful sound on Citrus, and the result was a more “minimalist place…a stark place,” born out of keyboard and drum-centric songwriting. “We wanted to go with something a little more uncomfortable.”

Following Hush, Chikudate and co-mastermind James Hanna recorded a remix album of sorts called Rewolf. The album features re-imaginings and acoustic renditions of their songs, and, despite being another departure, ties together their material into a cohesive package where most bands at this stage would have merely put out a token EP. The record was the product of a short recording stint at Olympic Records, the legendary London studio where they competed for studio time with U2. The studio closed its doors shortly after Rewolf had wrapped, so a history coloured with everyone from the Beatles to Björk is capped with Asobi Seksu. “You look at the list and it’s legends, and then there’s us. It’s kind of comical. We were honoured.”

Despite all the hand wringing and questions about the band, it’s clear Asobi Seksu has enough problems worth solving to remain intriguing. Chikudate is able to internalize the conflict. “I take it as a compliment, that people are left with more questions than answers.” She adds, “I guess it’s not a bad thing, being difficult to define.”

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Live Review: Hey Ocean!/Current Swell/The Zolas

Originally appearing in Beatroute Magazine.

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Photo by Paul Boechler

To talk about Hey Ocean! is, inexorably, to talk about Vancouver music as a whole. Being cogent of this fact, the band decided to put a tidy little cross section of the scene up on the marquee at the Vogue on December 18.

The Zolas started the night and set the bar incredibly high. The brainchild of Zach Gray and Tom Dobrzanski playing their first show in Vancouver (despite it being their hometown) added an effortlessness and charisma that only enhanced some undeniably strong tracks off their latest, Tic Toc Tic. Current Swell sought to clear the bar and did so admirably, their neo-blues stylings meshing oddly well with the bookending acts. Their tight set was a credit to a sound they have nurtured to maturity over three albums. Hey Ocean! took to the stage with the buzz of the crowd hovering at a dull roar and managed that energy expertly with a commanding performance.

The show was a worthy milestone in each of the bands’ respective legends. Gathering three of the most talked about Vancouver (and Victoria) bands under one roof for a pre-Christmas show was exactly the no-brainer it seemed. The Zolas racked up a truckload of new fans, Current Swell cemented their status as one of the west coast’s most creative and entertaining group of musicians, and Hey Ocean! used their time at the Vogue to prove what most of the crowd already knew: that their talents are every bit as deserving of headliner status as any band working today. Add in guest appearances by Said the Whale and Dan Mangan and you have an almost parodic number of Vancouver’s finest in one room (and, sometimes, singing into one mic).

Hey Ocean! is, at this point in their career, living up to every shred of hype and promise they have cultivated. They can do seemingly anything; whether imbuing old songs with new meaning and dimension (“Fish,” “Fifteen Words”) or cranking out some remarkable new material (“Last Mistake”), they’re a young band looking like consummate professionals. They capped off a night of music that made it patently clear that any discussion of Vancouver music omitting the three acts is incomplete, and that they are all more than worthy of being remembered as highlights of the closing decade.

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Sub-Prime December 15, 2009

Another comic by the talented and handsome Christopher Polancec! Woo!

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Click to see the whole thing

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Show Review – Shout Out Out Out Out December 8, 2009

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With a bass output usually reserved for dubstep shows and Honda Civics, the Edmonton electro sextet Shout Out Out Out Out pounded out a tight set at the Rickshaw Theatre with precision.

Touring behind their latest effort Reintegration Time, the inordinately personable Albertans returned triumphantly to Vancouver to a voracious crowd dedicated to dancing just as much as the T-shirted artists onstage.

Seemingly determined to master the timely high kick and to steal the dance-rock cowbell crown from the Rapture, Shout Out Out Out Out tore through the vast majority of their catalogue to the delight of a packed theatre. Their short career was duly represented, with old favorites, like “Nobody Calls Me Unless They Want Something,” and some promising new numbers, like the stellar “Bad Choices.”

The heat was off in the Rickshaw, making sure the crowd and the band stayed bundled up in heavy coats, but by mid-way through the set, Shout Out Out Out Out made sure we all warmed up.

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Categories: Official Works

Vancouver Choice Cuts 2009

Originally in Beatroute Magazine. Choice Cuts is a list of the top local albums of the year, and these are the ones I did reviews for.

Pink Mountaintops – Outside Love

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Always defying shoegaze, the ever-inventive Pink Mountaintops issued the intensely layered and evocative Outside Love to a storm of praise. Equal parts rousing and introspective, late album standout “The Gayest of Sunbeams” closes out one of the year’s best with a track that’s as infectious as it is skillfully written.

You Say Party! We Say Die! - XXXX

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The Abbotsford five-piece has finally decided on a sound, ditching dance-punk textures for a little more shine and gloss. Becky Ninkovic’s vocals ring clear over their tested formula of charismatic guitars and punchy beats. Howard Redekopp lends his expertise to craft a sound that remains fresh and vital.

Yukon Blonde  - Everything in Everyway

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A massively promising EP from an already exciting band, veteran go-to opening act Yukon Blonde showcase their talents in this new offering. Thesis track “Nico Canmore” showcases a method and energy that excites and leaves you wanting more. The band formerly known as AlphaBaby is all grown up.

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CD Review – Weezer’s “Raditude”

Originally in Beatroute Magazine.

If all work and no play made Jack a dull boy, all work and no sex made Rivers Cuomo a completely different person. Such are rationalizations I have to make when listening to Raditude, the new album from a band that purports to be Weezer. I say purports, because since Rivers made a vow of celibacy, I can’t recognize this new band. Even worse, he has said that the vow improved his songwriting. Can we infer that he regards Pinkerton as bad songwriting, and everything since Make Believe the new Weezer aesthetic? I hope not.

The album is one landmine after another. It meanders through inconsequential pop-rock devoid of innovation, products of a hit machine that has veered into the painfully cynical with gusto. Throwing Lil Wayne onto a track seems terribly desperate in the context of the depressingly uncreative album preceding the inexplicable “Can’t Stop Partying” mid-way through.

The train finally flies off the rails at the incredibly bad “Love Is The Answer”, a song I have to believe a Green Album Cuomo would have mocked without mercy. There’s a Brad Neely comic strip with that song’s title as the ironic punchline, the character’s in the strip writhing in the agony of the sentiment verbatim. The effect is similar here.

As if the wound needed salt, the two least offensive songs on the record (the Daniel Johnston evoking “Run Over By A Truck” and the catchy “Prettiest Girl In The Whole Wide World”) are relegated to a more expensive deluxe version of the album.

It’s awful that an album made after Chris Cornell’s Scream evokes nothing but memories of it. It’s the kind of album that makes it required that fans denote their value in terms of “I like most of their stuff except Raditude”, a cheesy afterthought stapled to the underside of a storied career. Skip it.

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Stuff We Like/Stuff We Hate (Dec.1, 2009)

Couple of things I did for Stuff We Like in Peak Arts and Stuff We Hate in Peak Humour last week.

Stuff We Like:

4. Avatar: The Last Airbender

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Risking ridicule, I am going to call Avatar one of the best television programs of the last decade. The show follows a messianic monk named Aang fighting to bring balance to a world being conquered by the Nazi-esque Fire Nation. Still with me? This show won a Peabody Award for “Unusually complex characters and healthy respect for the consequences of warfare.” The action, relationships and compelling exploration of morality and power makes it the Sopranos of American animation. Never condescending and unrelentingly entertaining, the series I watched (entirely) three times in one month is set to be ruined by M.Night Shyamalan in July.

Stuff We Hate:

2. Your boyfriend

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That’s right, I hate your boyfriend. That bastard could be giving his kidney to an amputee, pediatric cancer patient with alopecia and no nostrils and I would still fire my ocular angst-ray at him every time he was around. The mere thought of him snuggling and watching Grey’s Anatomy with you while I go home to my Spaghetti-Ring® brand canned pasta and sad-clown pornography makes me want to punch a litter of kittens. I would tactically nuke his house and treat you to a night at Boston Pizza if I could just make the tears stop.

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Oh my. December 5, 2009

Oh me!

Things have changed a bit around here.

I know a few people were partial to the old theme, but this one allows some pretty neat features, like being to, oh, center pictures and bold words and stuff like that.

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Big Man On Campus: Final November 30, 2009

A Fistful of Churro (or “Individually Wrapped, Microwaveable Denouement”)

III. BBW (D+D Free)

Aretha Franklin was a fat, fat woman with the right idea, asking for a little respect years before obesity became as common as chairs. I doubt she and Dr. King were concerned with fat-ass rights, but would nevertheless be surprised to learn people are judged less on the content of their character than the number of chins they have.

I’m gonna give one to the hardcore feminist element out there: ladies, you are far better at having your fatness held against you than men. If fat dudes are busy being a punchline, you are truly out back being tarred, feathered, cleaned up and tarred all over again into infinity, like a hungry hungry Sisyphus who shops at Pennington’s. The table is indeed tilted, but I am of the opinion that the majority of the incline comes from other women heaving your gut onto said table.

As a grown man raised by adolescent women, I feel I feel like I have reasonable authority to say that girls are sometimes goddamned horrible to each other. Often the picture of sorority, the velocity in which a group of women (especially the teenaged sort) can become a pack of rabid hyenas in yoga pants scares the hell out of me. For this, I blame Cosmopolitan Magazine and Dove soap.

Once an icon of Liberation politics, it’s now worse than a rag and is actively doing damage. The most intelligent women I know fawn over this masochistic monthly aneurism like it’s the King James, with all the shame of a someone picking up a Playboy “for the articles”. With every cover stopping just short of calling bulimia “the economical option” and every feature reminding you just how heavy and alone you are, it’s a wonder there are any women out there who stop crying long enough to say they won’t go out with me.

Worse still is Dove soap. Not even original enough to come up with effective marketing campaigns, they just vied for the same voodoo magic that slaps women with mass (thats kilograms and extensive) discrimination and then picks them back up, strokes their ego and sells them a bar of palm oil. Because remember, all women are beautiful enough to buy their product, so long as they aren’t the ones harvesting the resources to make them for eleven cents a week. They aim to keep you in a grey zone. Too fat to be beautiful, but beautiful enough to stay fat. It’s a dignity fire sale and everything must go!

It gets worse, ladies and gentlemen. An entire plotline in the Denis Leary vehicle Rescue Me was devoted to a member of the firehouse being involved in the most fulfilling relationship of his life and being unable to tell his best friends lest they man the harpoons. Recent Oprah-bait indie-flick Precious lines the unfunny reality of an under-loved fat girl with a helping of morbid obesity to go along with her domestic abuse and boiled pig knuckles.

Movies and television take shots at you. Magazines seem to hate you. Music ignores you (with the notable Fat-bottomed and Big-butted exceptions). What about the opposite sex? Well, even I, your intrepid Malcolm XL, cannot profess preference for the pillowy-soft. If that sounds hypocritical, it’s because it is. In my defense, I learned what a gunt was when I around twelve and was raised by T.V. to fear what looks like a butt on the wrong side of a pelvis. What the eye does not admire, the heart does not desire, I’m afraid. I am as afflicted as those lingerie shopping at the Hammock Depot. I think even Hank Moody would think twice.

Bleak? Not in the slightest. We can change it ladies. We just have to throw our bellies over our shoulder like a continental soldier and say “no”. Don’t accept being cast as the “fat friend” and the “uppity cock block”. Stop buying that which would keep you down.

And most importantly, stop the chorus of “sock it to me”.

IV. The Dom DeLuise Curve

Click To Embiggen

Click To Embiggen

Fat people are always funny. Funny and smart. Sort of. Sometimes. Like spots on a leopard, or (more accurately) the way three-toed sloths just let lichen and moss grow on their fur. Camouflage is used to distract a predator from the prey beneath it, and that’s why your token fat friend is constantly cracking jokes about Liza Menelli and his ass.

As you can see from the chart, the fatter you are, the funnier you are/have to be. Then, there is a giant valley where you are both fat and not very funny. Your being fat is funny, but now people are laughing at your rolls and not your anecdotes an mannerisms. This is doing it wrong. Louie Anderson is doing it wrong, as is Roseanne Barr (but oddly not John Goodman). Notable exceptions to this chart are Seth Rogen circa 2009 (who is still kind of funny but was in a couple of downer movies) and Margaret Cho (who got skinny and was never funny to begin with). If the chart extended all the way to heaven you would find Belushi and Farley towering above it, their laughter causing great ripples in their fat, showering us mortals with doughnuts and cocaine.

The logic, I guess, is that it’s hard to put down someone when they are shoving some rapier wit down your throat. It’s a life spent on defense and the only thing our parents could recommend was to laugh with them when they laugh at you. There is a lot of wisdom in that. It’s very disarming to stare someone dead in the eyes and laugh like a lunatic when they call you portly. Act like the Joker just sprayed you with novocaine and they may never talk to you again. The same could likely be achieved with a smart head-butt to the bridge of their nose too, but it all depends on your goals I suppose.

To explain this better to you, oh skinny audience, is to go back and watch 8 Mile. Eminem knew if he beat his audience over the head with verbal schadenfreude his hip-hop antagonist would have no rhymes to roast him with. And it worked. And then he won an Oscar. It is what it is.

V. Crotch Erosion (and The Fat Man Tug)

The easy way to find out if people think they’re fat is to watch their mannerisms. Even skinny people sometimes think they’re fat, and they do some of the same things: constant checking of mirrors out of a lack of confidence and not vanity, self-deprecation in the hopes that someone will pay them a compliment, eating to excess. That last one is, again, counter-productive, but indicative of the turmoil.

One thing I have observed is the Fat Man Tug. Cellulose is not gender specific, but Fat Man Tug rolls off the tongue better than Overweight Person Tug, and doesn’t sound near as sexual. The Fat Man Tug is the almost neurotic propensity for a fat person to tug at the bottom of whatever article of clothing they currently have attached to their torso. Much like the act and ritual of lighting a cigarette is integral to the experience, the familiar action ensures no jersey cotton is stuck between rolls and to look down on a shirt being tugged for an instant gives the illusion of weight loss. The fabric will relax back into it’s shape, but for that instant it gives the Tugger a flat stomach. If this sounds pathetic it’s because it kind of is.

Another is Crotch Erosion. The number one cause of pant turnover and friction burn in the obese is the rubbing action of oversized thighs. Like two holiday hams trying to light a fire after being stranded on a flabby island, this action will plague a fat person and eventually lead them towards tights, pantyhose and briefs as a matter of comfort and economics. Every pair of pants I have ever owned has worn out in this fashion, and walking in the summer time is met with a similar reaction to someone asking me if they could pour magma onto my nethers.

This really doesn’t go anywhere, but now you’re thinking about my crotch, which is funny to me.

VI. Outbound Pachyderm

It was inevitable that there would be a time where I would stop pretending this was all about me. The fact is this project has been all about discrimination based on a ridiculous (and hilarious) physical attribute. Because they’re all ridiculous. Fat, skinny, red, white, yellow, black, purple, Objectivist, Juggalo and Communications Major. All silly little things dividing us and making sure we lose sight of the fact that we’re all human (or possibly Cylon). People embattled against each other will always be soldiers in a very profitable war. It’s particularly arrogant to believe that any such characteristic is diminishing because that makes it unique. Do you think fat people are a new thing? Do you think they were always inferior?

I have purposely avoided conclusions in the run this project because there never will be one and conclusions are hard and require thought and hard work. Be it political, racial, fashion-forward or ass-backwards people will always find a way to separate and disparage others. It’s a big game, an Algonquin Round Table of suck and hate and one-upmanship that nobody is winning.

I end nearly all of these with a fist in the air, a call to rally around kindness and tolerance and blah blah blah. Vigils and protests and petitions and calls to action never work because though the fat might be the embodiment of sloth, this is only the application of a general malaise to a visible (and I mean damn visible) group. It has to be individual. Choose to not think about whoever is around you in terms of difference, but in terms of what is the same.

I’ve lost 10 pounds since I started this project and I have never been hungrier.

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Updates! On Stuff! November 27, 2009

Hello, sports fans!

Just an update on stuff.

The Big Man On Campus Feature will run on Monday! Huzzah! Almost 2000 words worth of fat jokes! Can you dig it?

And I am running for Columnist over at the Peak! I don’t want to give too much away about my topic, but I want to punch George Lucas in the goitre after all the research I’m doing.

Also the new comic from Christopher Polancec is up, right below this! Keep scrolling for the funny.

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That’s Just Silly, Alfred. God.

A new comic from Christopher Polancec. Fancy!

batmannamedpng

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In Which We Forget Buster. November 23, 2009

I am beyond tickled that I get to post this up here.  I won’t amble on too much, because this thing speaks for itself.

This comic is by a very special person. Hopefully if you say how much you like it, he’ll do more.

Ladies and gentlemen: Mr. Christopher Polancec. (Click to embiggen)

CP1 Thumb

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