A year ago today, I moved into my current apartment. Within the next two weeks, I will have completely moved out of this dingy, tiny studio and into a larger place that I will share with the love of my life.
I've lost interest in blogging as a general rule. My numerous themed blogs left me feeling like I had little to say about each subject, so I let them all go. But I figure if I have a single blog (NOT ON BLOGGER) where I can blather about any and all of my obsessions, there would be way more content and it would hold my interest. I started this blog as a film blog and slowly let music creep in, occasionally writing about other things. So why not go all the way with it?
In order to do this, I'm moving my new writings to brokephilanthropist.wordpress.com. There I will continue to write about music, movies, and politics, but I will largely incorporate my musings about the nonprofit sector. The cultural postings may be alienating to the NPO geeks and vice versa, but that's a risk I'm willing to take. I will leave the archives here, because I'm not sure I want to take the time to transfer older entries.
Thank you if you've read this blog at any point.
Monday, March 12, 2012
Friday, March 2, 2012
Mickey and Sylvia
Sylvia Robinson is now most famous for her role in early hip-hop, which is why her rock'n'roll recordings with Mickey Baker are so important. Also because they're fucking delightful.
It would be criminal not to post "Love Is Strange" in its eerie, goofy glory.
I've been listening to their songs pretty heavily after seeking out the above for our wedding playlist. (Yes, I'm planning the playlist a year and a half ahead. It's important!) But many of their other songs are worth a hear.
For instance, this:
And one more:
Fine, here's another. They're all good, really.
It would be criminal not to post "Love Is Strange" in its eerie, goofy glory.
I've been listening to their songs pretty heavily after seeking out the above for our wedding playlist. (Yes, I'm planning the playlist a year and a half ahead. It's important!) But many of their other songs are worth a hear.
For instance, this:
And one more:
Fine, here's another. They're all good, really.
Monday, February 27, 2012
Finally Won Out Over Reality: Harvey and the Manic Pixie Dream Man
The Manic Pixie Dream Girl is a character trope in film with no motivations or backstory of her own. She is a blank screen on which the other characters' hopes and dreams are projected, and she pushes and inspires others towards self-discovery--often at her own expense. Her deep flaws are viewed as quirks or charming tics.
Who else does this sound like? One Mr. Elwood P. Dowd, perfectly portrayed by James Stewart in Harvey.
The film does not minimize Dowd's alcoholism, but it does normalize it, which adds to the MPDG effect that Dowd has on the other characters. He may be relatively sexless, but he has no real past or history besides being the town nut. If anything, Dowd can be considered yet another prototype of the MPDG, despite being a man. A man with a rabbit, but a man nonetheless.
Who else does this sound like? One Mr. Elwood P. Dowd, perfectly portrayed by James Stewart in Harvey.
The film does not minimize Dowd's alcoholism, but it does normalize it, which adds to the MPDG effect that Dowd has on the other characters. He may be relatively sexless, but he has no real past or history besides being the town nut. If anything, Dowd can be considered yet another prototype of the MPDG, despite being a man. A man with a rabbit, but a man nonetheless.
Friday, February 24, 2012
The Au Pairs
Not the Au Pairs, but a fantastic version nonetheless:
Unsung heroes, the Au Pairs. When people actually talk about them, Leslie Woods gets a lot of ink for being openly gay and leading a mixed gender band with tongue-in-cheek, visceral songs about gender relations. Also notable is Paul Foad's sincerely intense guitar playing and vocal foil, pushing the irony in the songs into even stranger territory. The rhythm section was one of the best in post-punk.
I'm also very curious to hear how Sense and Sensuality sounds in its original LP version, which was mastered at the wrong speed. The "corrected" reissue makes Woods's vocals sound super weird, but it's still a fantastic record. I remember sitting in my dorm room listening to that for the first time, and it made so much sense that it made me uncomfortable. Why yes, I would like my sex without stress, Leslie. Too bad it took another decade to find it.
If you find additional live videos, PLEASE FOR THE LOVE OF GOD POST THEM HERE.
Wednesday, February 8, 2012
Potshot
This apparently made the rounds in November and I missed it. Werner Herzog is fucking hardcore.
Monday, January 30, 2012
Compare and Contrast: Two songsters
The Carter Family, "Single Girl, Married Girl"
Single girl, single girl
She goes to store and buys
Oh, she goes to store and buys
Married girl, married girl
She rocks the cradle and cries
Oh, she rocks the cradle and cries
The Kinks, "Two Sisters"
Priscilla saw her little children
And then decided she was better off
Than the wayward lass that her sister had been
No longer jealous of her sister
So she ran 'round the house with her curlers on
No longer jealous of her sister
"Single Girl, Married Girl" was released on the Carter Family's second 78, in 1928. A proto-feminist critique of a marital dead end, A.P. Carter had learned the song from his mother as a child. He hated it and sat out on the session, leaving Sara and Maybelle to tackle it alone. Sara's plaintive wail cuts through this sparse lyrical picture and reshapes the song into a condemnation of both parties: the single girl for being shallow and ungrateful for her freedom, and the married girl for wallowing in her misery.
Frequently interpreted as a parallel to the Davies brothers' strained relationship, written during the time when new father and husband Ray watched his brother screw everything in sight, "Two Sisters" presents the opposing view: the much maligned mother/wife embraces her role as a route to her own liberation. Though it contains the same level of bitterness, "Two Sisters" takes similar ideas, infuses them with humor, and creates a specific example of this dichotomy in action. One could argue that Davies's use of the term "wayward" in describing the single girl is judgmental, but he imbues the song with empathy for both characters and makes the listener wonder if the Sybilla is similarly jealous of Priscilla.
Sonically the two songs couldn't be more different. One features autoharp, the other harpsichord; female vs. male singers; anxious pacing or more languid storytelling. Yet I find it fascinating how they explore the same trope in very different but equally effective--and affecting--ways. Both songs also use lyrical repetition very well.
In what songs do you find unexpected connections?
(Looking for good books on either subject? Try Will You Miss Me When I'm Gone?: The Carter Family & Their Legacy in American Music by Mark Zwonter and Charles Hirshberg, X-Ray: The Unauthorized Autobiography by Ray Davies, and Kink: An Autobiography by Dave Davies. Approach the last two as hyper-subjective but enlightening works in the best tradition of rock autobiographies, while the first is well-researched and scholarly.)
Single girl, single girl
She goes to store and buys
Oh, she goes to store and buys
Married girl, married girl
She rocks the cradle and cries
Oh, she rocks the cradle and cries
The Kinks, "Two Sisters"
Priscilla saw her little children
And then decided she was better off
Than the wayward lass that her sister had been
No longer jealous of her sister
So she ran 'round the house with her curlers on
No longer jealous of her sister
"Single Girl, Married Girl" was released on the Carter Family's second 78, in 1928. A proto-feminist critique of a marital dead end, A.P. Carter had learned the song from his mother as a child. He hated it and sat out on the session, leaving Sara and Maybelle to tackle it alone. Sara's plaintive wail cuts through this sparse lyrical picture and reshapes the song into a condemnation of both parties: the single girl for being shallow and ungrateful for her freedom, and the married girl for wallowing in her misery.
Frequently interpreted as a parallel to the Davies brothers' strained relationship, written during the time when new father and husband Ray watched his brother screw everything in sight, "Two Sisters" presents the opposing view: the much maligned mother/wife embraces her role as a route to her own liberation. Though it contains the same level of bitterness, "Two Sisters" takes similar ideas, infuses them with humor, and creates a specific example of this dichotomy in action. One could argue that Davies's use of the term "wayward" in describing the single girl is judgmental, but he imbues the song with empathy for both characters and makes the listener wonder if the Sybilla is similarly jealous of Priscilla.
Sonically the two songs couldn't be more different. One features autoharp, the other harpsichord; female vs. male singers; anxious pacing or more languid storytelling. Yet I find it fascinating how they explore the same trope in very different but equally effective--and affecting--ways. Both songs also use lyrical repetition very well.
In what songs do you find unexpected connections?
(Looking for good books on either subject? Try Will You Miss Me When I'm Gone?: The Carter Family & Their Legacy in American Music by Mark Zwonter and Charles Hirshberg, X-Ray: The Unauthorized Autobiography by Ray Davies, and Kink: An Autobiography by Dave Davies. Approach the last two as hyper-subjective but enlightening works in the best tradition of rock autobiographies, while the first is well-researched and scholarly.)
Saturday, December 3, 2011
Happy Holidays from MAG
[I realize now that the mix is unavailable since Megaupload was taken down. Damn you Feds. I'll find a new home for it soon. Sorry about that!]
Hello!
Consider this mix an holiday gift from me, or a glimpse of what my brain has sounded like over the last year. The original is in the hands of Craft Leftovers' Kristin Roach, who I hadn't seen in years but joyously ran into at Renegade's holiday craft sale. She makes kickass DIY zines that you should check out and purchase.
I could say that there's an overarching concept with this mix, but that would be a lie, though I do notice common threads and similarities that landed in it on accident. (I lost steam halfway through writing this. Enjoy!)
Upcycle: Occupy Yr Stereo! mix
1) Dara Puspita—Hello, Friend
Glorious all-woman Filipino psych band from the 1960s.
2) Tunabunny—When We Go Out
If this is what Athens GA is like these days, I'm packing up and heading back south.
3) Grass Widow—Yellow Balloons
I adored Past Time, but their first LP is full of odd revelations like this.
4) Volcanos—It’s Gotta Be a False Alarm
Some damn fine Philly soul.
5) Nu Sensae—I’m a Body
You're sick of me talking about them already. You get it.
6) Arthur Russell—Janine
I have a soft spot in my heart for Iowa.
7) Pens—Horsies
I know little about them.
8) Autoclave—Dr. Suess
9) Konono No. 1—Kule Kule
10) Black Tambourine—Throw Aggi Off the Bridge
11) Jonathan Richman—You Can’t Talk to the Dude
12) The Clean—Thumbs Off
Not only is this band amazing, they hold tremendous sentimental value for me now.
13) Urinals—Black Hole
EARWORM. At least for me.
14) Dikes of Holland—Into the Ditches
I'd move to Austin for these guys, except my town would then have the same name as my fiance, and that's just WEIRD.
15) Pylon—Cool
Saw Corin Tucker cover this last year. Remember what I said about Athens? Vanessa (and her daughter) is still playing in awesome bands.
16) Electrolettes—Octane Lies
Ladies, I know Ms. Bright is busy with motherhood and other bands and Ms. Cheslow is busy being Sharon Cheslow, but could you reconsider the breakup/hiatus of this project?
17) Janelle Monae—Cold War
WHY IS THIS NOT THE WORLD'S NUMBER ONE HIT?
18) Look Blue Go Purple—I Don’t Want You Anyway
If I can't convince Austin to move to Athens, I know he'd willingly relocate to New Zealand, in part because of Flying Nun.
19) Marnie Stern—Roads? Where We’re Going We Don’t Need Roads.
I once told a friend that Stern was too cerebral for me, which is the stupidest thing ever given how cerebral I am. I reconsidered and listened beyond the debut.
20) Hazel Dickens—Scraps from Your Table
Rest in peace, dear Hazel. My baritone lives on in your memory. Thank you for all the gifts you've given us.
21) Super Wild Horses—Fifteen
Scrappy, minimalist garage pop. I hear they bake mean cupcakes.
22) Marva Whitney—Things Got to Get Better
James Brown produced funk/soul.
23) Neo Boys—Time Keeps Time
Grass Widow recorded a lovely cover on this year's "Milo Minute" single.
24) White Lung—Viva La Rat
You're sick of them, pt. 2.
25) Tacocat—Shame Spiral
They write songs about periods, urinary tract infections, and stupid hipsters. You like them already.
26) Wild Flag—Romance
I hated this album on first listen but found myself rewarded on repeat. Plus they're fucking outstanding live, and I like the new songs they've been playing better than the LP.
27) Eddie Holman—Stay Mine for Heaven’s Sake
More Philly soul. I went on a Funky16Corners binge sometime last year and gradually worked my way through them all.
28) Dum Dum Girls—Jail La La
The new album was one of my favorites this year, but I constantly come back to the breezy fuzz of the first.
29) Brief Weeds—(It’s So Hard Not to) Say Hello
On vocals is one Guy Picciotto. You heard me.
Hello!
Consider this mix an holiday gift from me, or a glimpse of what my brain has sounded like over the last year. The original is in the hands of Craft Leftovers' Kristin Roach, who I hadn't seen in years but joyously ran into at Renegade's holiday craft sale. She makes kickass DIY zines that you should check out and purchase.
I could say that there's an overarching concept with this mix, but that would be a lie, though I do notice common threads and similarities that landed in it on accident. (I lost steam halfway through writing this. Enjoy!)
Upcycle: Occupy Yr Stereo! mix
1) Dara Puspita—Hello, Friend
Glorious all-woman Filipino psych band from the 1960s.
2) Tunabunny—When We Go Out
If this is what Athens GA is like these days, I'm packing up and heading back south.
3) Grass Widow—Yellow Balloons
I adored Past Time, but their first LP is full of odd revelations like this.
4) Volcanos—It’s Gotta Be a False Alarm
Some damn fine Philly soul.
5) Nu Sensae—I’m a Body
You're sick of me talking about them already. You get it.
6) Arthur Russell—Janine
I have a soft spot in my heart for Iowa.
7) Pens—Horsies
I know little about them.
8) Autoclave—Dr. Suess
9) Konono No. 1—Kule Kule
10) Black Tambourine—Throw Aggi Off the Bridge
11) Jonathan Richman—You Can’t Talk to the Dude
12) The Clean—Thumbs Off
Not only is this band amazing, they hold tremendous sentimental value for me now.
13) Urinals—Black Hole
EARWORM. At least for me.
14) Dikes of Holland—Into the Ditches
I'd move to Austin for these guys, except my town would then have the same name as my fiance, and that's just WEIRD.
15) Pylon—Cool
Saw Corin Tucker cover this last year. Remember what I said about Athens? Vanessa (and her daughter) is still playing in awesome bands.
16) Electrolettes—Octane Lies
Ladies, I know Ms. Bright is busy with motherhood and other bands and Ms. Cheslow is busy being Sharon Cheslow, but could you reconsider the breakup/hiatus of this project?
17) Janelle Monae—Cold War
WHY IS THIS NOT THE WORLD'S NUMBER ONE HIT?
18) Look Blue Go Purple—I Don’t Want You Anyway
If I can't convince Austin to move to Athens, I know he'd willingly relocate to New Zealand, in part because of Flying Nun.
19) Marnie Stern—Roads? Where We’re Going We Don’t Need Roads.
I once told a friend that Stern was too cerebral for me, which is the stupidest thing ever given how cerebral I am. I reconsidered and listened beyond the debut.
20) Hazel Dickens—Scraps from Your Table
Rest in peace, dear Hazel. My baritone lives on in your memory. Thank you for all the gifts you've given us.
21) Super Wild Horses—Fifteen
Scrappy, minimalist garage pop. I hear they bake mean cupcakes.
22) Marva Whitney—Things Got to Get Better
James Brown produced funk/soul.
23) Neo Boys—Time Keeps Time
Grass Widow recorded a lovely cover on this year's "Milo Minute" single.
24) White Lung—Viva La Rat
You're sick of them, pt. 2.
25) Tacocat—Shame Spiral
They write songs about periods, urinary tract infections, and stupid hipsters. You like them already.
26) Wild Flag—Romance
I hated this album on first listen but found myself rewarded on repeat. Plus they're fucking outstanding live, and I like the new songs they've been playing better than the LP.
27) Eddie Holman—Stay Mine for Heaven’s Sake
More Philly soul. I went on a Funky16Corners binge sometime last year and gradually worked my way through them all.
28) Dum Dum Girls—Jail La La
The new album was one of my favorites this year, but I constantly come back to the breezy fuzz of the first.
29) Brief Weeds—(It’s So Hard Not to) Say Hello
On vocals is one Guy Picciotto. You heard me.
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