Also, just to let you know, I’m working on the traditional annual movie review post, but it probably won’t go live until mid-month, since two of the better-reviewed films of 2012, Kathryn Bigelow’s Zero Dark Thirty and Michael Haneke’s Amour, don’t arrive here in the Beltway Styx until 1/11. That also gives me another week to plug a few other holes via Netflix, like last night’s Abraham Lincoln: Vampire Hunter (dopey, but not nearly as terribad as I feared) and The Deep Blue Sea (a definite list contender).
In any event, happy 2013 everyone. Since we’ve made it through the Mayan gauntlet and are already living in The Future, it’s all extra time from here on out. Let’s make the most of it! Onward and upward.
“So baby don’t worry, you are my only, You won’t be lonely, even if the sky is falling down, You’ll be my only, no need to worry, Baby are you down down down down down?” One of the unfortunate casualties of the work-bomb and accompanying radio silence the past ten days was the annual Valentine’s Day music post (’05, ’06, ’07, ’08, ’09. ’10.) D’oh!
To rectify the V-day oversight in part, below are a few peppier-than-usual ditties to help winter ease into spring. If, like me and the ladyfriend — yes, I’m very happily un-single these days! — you’re a fellow Dance Central enthusiast, or for that matter just a proponent of #gettngslizzard, you’ll recognize several of these.
“Poppin’ bottles in the ice, like a blizzard…“
“Push me, and then just touch me, tll I can get my satisfaction…“
“Fear and panic in the air, I want to be free from desolation and despair…“
“I get my kicks on channel Six. I get my kicks on channel Six…“
“‘I think it’s fantastic,’ Nash said…’I think the law is very misguided. I think it’s, unfortunately, to the detriment of our society and our civil liberties. I think it’s very important for us to stand up for things we believe in. As a team and as an organization, we have a lot of love and support for all of our fans. The league is very multicultural. We have players from all over the world, and our Latino community here is very strong and important to us.“
In honor of Cinco de Mayo and in protest of Arizona’s straight-up ignorant new ethnic profiling law, the Phoenix Suns will don their “Los Suns” jerseys tonight. “Spurs coach Gregg Popovich is on board, and the team even tried to get their ‘Los Spurs’ jerseys, though it was too late to do so. When asked for approval to wear the jerseys, the NBA “was all for it,” said Suns general manager Steve Kerr.“
“This is Machete, with a special Cinco de Mayo message…TO ARIZONA.” If the Arizona GOP won’t heed the carrot of the Suns’ inclusive orange unis, perhaps they’ll fear the sharpened stick of a ticked-off Danny Trejo, in the new holiday trailer for Robert Rodriguez’s full-length version of Machete, also with Jeff Fahey, Michelle Rodriguez, Robert DeNiro, Lindsey Lohan, Jessica Alba, Don Johnson, Cheech Marin, and Steven Seagall. I know I was just badmouthing this project in my review of The Losers, but I have to concede, it still makes for a pretty fun trailer. (Extra points for DeNiro channeling his inner JD Hayworth therein.)
A very happy Valentines Day to you and yours. To keep tradition going for its sixth year here at GitM — ’05, ’06, ’07, ’08, ’09 — time for the yearly musical valentines from yours truly.
First off, in keeping with the usual once-a-year romantic status-update, you’ll be happy to know that this 2010 post actually comes with 44% less whining than usual. (Yay, and there was much rejoicing.) I am still single on this end, as per the norm, which means my trusty sheltie sidekick is once again holding down the official valentine spot. (Aw, he got me Bioshock 2. How did he know I wanted it?) But, having at last escaped the egregious emotional, financial, and general personal sandtrap that is late-term gradual school, it’s safe to say I’m in a much happier place these days. And, since returning to DC, a town that’s been swell to me so far, I’ve at least been taking a few swings at the plate lately. So, no wallowing this V-day. I’m in a pretty good place, all in all, and hope springs eternal. In any event, on to the music:
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“Hang with me in my MMO, So many places we can go!
I’m better than a Real World quest You’ll touch my +5 to Dexterity Vest.
What role do you want to play? I’m just a click away, night or day. And if you think I’m not the one, Log off, log off and we’ll be done…”
But can she kite the adds? First off, as always, I offer some quality cheese: Singlehandedly raising unrealistic expectations for gamergrrls the world (of Warcraft) over, The Guild‘s fetching Felicia Day scored a massive (multiplayer) online hit last summer with the supremely catchy “Do You Wanna Date (My Avatar)?” In some ways a peppy, poppy update to Kraftwerk’s “Computer Love” (which led off the order in ’06) this was one of two songs I heard in the past year that I knew — immediately — would make it into this post.
Now, having spent more than my fair share of time MMO’ing over the past few years — everybody say hi to Jacklowry — it’s safe to say that the bubbly, infectious enthusiasm that drives this track isn’t really a huge part of games like Warcraft. (In fact, everyone usually seems vaguely depressed — There’s a reason why some of the biggest facets of WoW-life are “grinding” levels and “farming” mats. If you take it seriously, it sorta becomes a day job.) But, all that being said, Day and The Guild crew know their WoW — how ’bout a little tank-and-spank? — and they’ve delivered a ditty that works as both a fun and knowing riff on the MMO life and a silky, effervescent pop song all on its own. Great job, y’all…Lvl 80 rogue lf healbot pst?
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“You told me you loved me, Why did you leave me, all alone?
Now you tell me you need me, When you call me, on the phone.
Girl I refuse, you must have me confused With some other guy Your bridges were burned, and now it’s your turn To cry, cry me a river.”
Don’t it make you sad about it? This song probably needs no introduction — most everybody knows it, and I’m sure a lot of people are totally sick of the durned thing. Still, since the last song, however cheesy, is already a gamer standard and perhaps not nearly as embarrassing a guilty pleasure as I’ve tended to offer in years past, I give you JT’s “Cry Me a River.”
It’s easy to playa-hate Justin Timberlake, and to be honest, I think I can only name three or four songs of his anyway. Still, I’d argue this well-crafted track and “SexyBack” put JT as the truly deserving 21st century pop heir to, say, Stevie Wonder or Michael Jackson. He’s got the pipes, he’s got the beats, he’s got the production values, the dance moves, and the marketing savvy, and to my mind “Cry Me a River” just holds it own as a classically catchy pop ditty. And when the scorned lasses of this world roll out Gloria Gaynor’s “I Will Survive” as their peppy post-break-up standard on the dance floor, I in turn will call forth this track, Pokemon-style. Game on.
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“I loved you in the morning, our kisses deep and warm,
your hair upon the pillow like a sleepy golden storm.
Yes, many loved before us, I know that we are not new,
in city and in forest they smiled like me and you.
But now it’s come to distances and both of us must try,
Your eyes are soft with sorrow, And I know when to say goodbye.
When he’s at his best, as he is throughout Live in London, Cohen’ sheer rawness — his naked, direct emotion — cuts like a knife. He’s not one to dabble in misdirection, or to try to obscure his feelings with extended metaphors. He just goes right to the heart of it, every time.
With that in mind, I much prefer this version of “That’s No Way to Say Goodbye” to the original 1967 version. At times, the young Cohen sounds too callow to me. It took years, even decades, for his voice to catch up to the power of his poetry. And the slight change in lyrics here — Now it’s “I know when to say goodbye” — helps push this ballad from petulance to poignance. It’s one of many transcendant moments on this superlative album.
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“Well I could sleep forever But it’s of her I dream.
if I could sleep forever
I could forget about everything…“
And, really, who doesn’t love sleep? As a love-song sorbet of sorts, here’s The Dandy Warhols’ “Sleep.” Like Brian Eno’s “By this River” and Hot Chip’s “Crap Kraft Dinner” (written up in ’09), this is one of those songs I find endlessly soothing. It could just play on and on like this for twenty minutes and I’d be blissfully content…perhaps eventually nodding off, fading away into the wilderness of dream…
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“I’m so tired, of playing Playing with this bow and arrow
Gonna give my heart away Leave it to the other boys to play Been tempted for too long
Go on, give me a reason to love you Give me a reason to wanna be your man Give me a reason to love you Give me a reason if you can.”
As I said back when hyping Third in 2008, Portishead’s Dummy was one of those ubiquitous albums for a few years there in the mid-nineties, with the most memorable track therein possibly being “the second single, “Glory Box.” I include the late guitarist John Martyn’s cover of “Glory Box” here not because it’s an improvement on the original — they’re both amazing — but because it captures so well that song’s hothouse sultriness, while managing to sound quite different in the end (and switching the gender dynamic.)
Also of note on this subject: Portishead’s “Scorn,” the ice-cold B-side version of this same song. I love how it completely inverts the sensation of the original tune, just by switching the beats involved. Now, the whole song plays out atop that sensual, brooding oil-tanker rhythm only heard when everything goes wobbly in the original version. And, conversely, only in the climax of this mix are the original lyrical strings heard, like a moment of clear-thinking grace before the hammers descend anew. (The Youtube of “Scorn” below cuts out the end, unfortunately, although you can hear the whole mix here.)
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“A love-struck Romeo sings the streets a serenade Laying everybody low with a love song that he made. Finds a streetlight, steps out of the shade Says something like, ‘You and me babe, how about it?’
Juliet says, ‘Hey, it’s Romeo, you nearly gave me a heart attack!’ He’s underneath the window, she’s singing, ‘Hey la, my boyfriend’s back.’ You shouldn’t come around here singing up to people like that… Anyway, what you gonna do about it?”
You and me, babe, how ’bout it? Now, if forced, with a gun to my head, to pick the Dire Straits’ absolute finest hour, I’d have to go with “Sultans of Swing”, that testament to resolute keep-on-keepin’-on long after the crowd’s gone home and all the midnight oil is burned. Still, their brief retelling of “Romeo & Juliet” is an unabashedly lovely song indeed. (Full disclosure: This was, in fact, the favorite tune of one of my former ex’s, a long, long time ago. But, no plagiarism here. I ended up earning this streetlight serenade’s stripes myself…the hard way. Anyway, let’s move on.)
There are a lot of covers of “Romeo & Juliet” floating around — Indigo Girls, The Killers, Edwin McCain — but none of ’em really do the simple beauty of this song justice. Also, the original Dire Straits video is also online, but frankly it’s so bad and ridiculously Eighties-ish that it detracts from the timelessness of the tune. No wonder they later plunked down big dollars for “Money for Nothing“…
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“Looking from a window above, It’s like a story of love Can you hear me? Came back only yesterday Moving farther away Want you near me…
All i needed was the love you gave All i needed for another day, And all i ever knew, Only you.”
As I’ve said ’round here many times, I’m a big Depeche Mode fanfrom way back. (Their “Here is the House” went up here in ’06.) And I think they became a better, darker, richer band in 1982 with Vince Clarke’s departure after Speak & Spell, when Martin Gore took over the songwriting full-time.
Still, with all due respect to melancholy Marty, Vince Clarke always had a way with a happy three-chord love song that the minor-key-obsessed DM never ever really got back to. Case in point: Yaz’s “Only You” (as well as almost all of Erasure’s many hits over the years.) There are no regrets or guilt or religious allusions or teenage scared-stiff-of-sex angst or black cars driving around in the distance. It’s just a simple, very pretty ode to that one special person.
There are a lot of very good tracks on the better of Yaz’s two albums, Upstairs at Eric — “Don’t Go,” “Situation,” and “Winter Kills,” for example. Still, I’d put “Only You” as the pick of the litter: It’s the perfect blend of Vince Clarke synth-pop and Alison Moyet soul.
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“Love is a delicate thing, It could just float away on a breeze! (he said the same thing to me)
How can we ever know We’ve found the right person in this world? (he means he looks at other girls)
Love is a mystery, It does not follow the rules! (this guy is a fool) (he’ll always be a boy, he’s a man who never grew up) I thought I told you to shut up…”
The first time you get dumped, it feels like a tragedy. It just plain sucks. The second time, it…well, actually it’s even worse. And by the third or fourth time, you start to really wonder what’s wrong with you. But, after enough iterations of the dismal cycle, as the Conchords’ “Carol Brown” points out, it does become farce. And a really funny one, for that matter.
Along with Felicia Day at the top, this is the other song I knew I was going to post here this year as soon as I heard it. The Flight of the Conchords’ second season included a lot of really hilarious tunes: “Hurt Feelings” (and its reprise), “Too Many Dicks on the Dance Floor,” “Fashion is Danger.” But “Carol Brown” is, imho, their magnum opus. It’s funny on its own terms (as well as a great riposte to Paul Simon’s smarmy “50 Ways to Leave Your Lover.”) But, more importantly, it’s just a funky-sweet song with truthiness to spare. (The Michel Gondry video is great too.)
I’m sure most of y’all out there know the old Annie Hall joke: “This guy goes to a psychiatrist and says, ‘Doc, uh, my brother’s crazy; he thinks he’s a chicken.’ And, uh, the doctor says, ‘Well, why don’t you turn him in?’ The guy says, ‘I would, but I need the eggs.’ Well, I guess that’s pretty much now how I feel about relationships; y’know, they’re totally irrational, and crazy, and absurd, and…but, uh, I guess we keep goin’ through it because, uh, most of us…need the eggs.“
That’s the gag that “Carol Brown” gets so well. The whole song is a litany of ugly dumpings for most of its run. But every time that peal chimes (at 1:15) and the angelic chorus kicks in for the first time (“He doesn’t cook or clean…“), you can hear exactly why Jemaine — and so many others of us, for that matter — keep leading chin first regardless. Carol Brown took a bus out of town…but I’m hoping the next gal sticks around.
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That’ll do for ’10, I think. Have a safe and happy Valentines Day, everybody. I’ll see y’all on the flip side. And, until next year…
A very happy 233rd Independence Day. So, some big news on the life front: It took quite a bit longer than I originally anticipated, but I’ve finally managed to buck the worrying trend out there and secure full-time remunerative employ. As such, tomorrow I drive back up to Washington DC — my home from 1997-2001 — to start work on Monday. (Berk will follow in a week or two, once I successfully navigate the apartment-hunting phase of the move and find a decent place that doesn’t discriminate against sheltie-americans.)
My job, in case y’all were wondering: I’m going back into full-time political speechwriting. More specifically, I will be working on the Hill, House side, as a “foot-soldier in the Obama revolution,” to borrow a frequent McCainism. And I hope and expect I’ll be getting a first-hand look at how the legislative sausage is made from the ground floor.
If you’re curious to know who exactly I’m working for, feel free to drop me an e-mail sometime. Why so coy about it? Don’t worry — it’s a Democrat! Still, after close to ten years of posting here at GitM, this feels like a good time to establish some modicum of healthy distance between my life and blog. If anybody’s still reading from my last DC tenure way back when, I acknowledged openly back then that I worked at the FCC, and it’s not like this became the go-to place for inside scuttlebutt on the AOL-TW merger or anything. (Nor, during my Carville stint, did I post about any work goings-on in this space either. I may not have been blogging per se in ’97 and ’98, but I was nevertheless writing here pretty often.)
But, in those days, the Internet was more of a Wild West frontier town, blogging was a relatively new fad — back then, it wasn’t “What do the bloggers think?!” but “Why are you bothering to post that stuff online?!” — and I think it was easier to get away with more. Now, I’m under no illusions that GitM has or ever will enjoy a large readership — In fact, in terms of visitors this site peaked probably five or six years ago. And, from the beginning, I’ve always been conscious that this is a public forum, and have tried to be relatively temperate in my posts accordingly. I think the archives here reflect pretty well on me, all in all, and I’m not really concerned about hiding anything. Even if somebody did make the effort for some ridiculous, unlikely reason, the worst headline a right-wing blogger type might come up with after perusing the past decade of posts is “Democratic Aide is Overgrown Boy, Won’t Shut Up about Lord of the Rings.“
But, obviously, I have been a partisan here over the years. And so, by establishing a little more distance between my blogging and working life, I hope it’ll emphasize the fact that both the ten years of posts already here, and the posts to come, reflect on me and me alone. As far as GitM goes in the future, I won’t be posting on my day-to-day business as always, and, as always, I’ll be erring far on the side of discretion in my choice of topics. Still, unless Congress suddenly takes a decisive stance on movie trailers, fanboy-to-film properties, random science and culture articles, and the occasional items of historical or progressive interest, I’m sure the usual content here won’t shift all that much.
Phew! Now that all the caveats are out of the way, let me say that I’m very happy to be both rejoining the ranks of the employed and returning to political speechwriting. (Yes, some aspects of DC life do rankle, but I have a lot of friends there, and it’s definitely a fun, interesting town.) To be honest, this is a career move I’ve been considering since I first set off for grad school in 2001, so my returning to the political fold on the other end of the PhD process (give or take a few months) feels like a natural and very satisfying progression to me. (The Ivory Tower isn’t losing much anyway, particularly given that the existence of academic jobs in this recession economy, as many poor souls out there can tell you, is proving to be almost entirely theoretical. Besides, over the long term, I don’t really see the academic and speechwriting paths as mutually exclusive anyway. And never say never — with any luck, I have a ways to go yet before the final bell tolls.)
At any rate, I’m off for a hopefully MacArthuresque return to DC. I expect updates here will be more sparse than usual over the next few weeks as I make the move and settle in. But, I’ll be back, in due course. Until then, a very happy July 4th to you and yours.
“Then we raised a glass to JFK, and a dozen more besides.” A very happy St. Patrick’s Day to you and yours. Be sure to wear green and have a Guinness or three, or Leo’s comin’ over.
