#thingslearnedfromBonnieandClyde: it’s good to run off with someone you find interesting after just meeting them if they have *that* spark

#thingslearnedfromBonnieandClyde: it was really, really, really incredibly easy to steal cars in the 1930s.

#thingslearnedfromBonnieandClyde: it’s perfectly acceptable to go see a movie after robbing a bank and shooting and killing a guy.

#thingslearnedfromBonnieandClyde: theres something so cute about two amoralists in love. Aww, they just wanna watch the world burn together!

#thingslearnedfromBonnieandClyde: they had fast food burgers and french fries in the 1930s.

#thingslearnedfromBonnieandClyde: your family is surprisingly okay with how you are a professional bank robber and wanted for murder.

#thingslearnedfromBonnieandClyde: Except for your Mom. She’d turn you in to the law. ‘Cause she’s a cold-ass bitch.

#thingslearnedfromBonnieandClyde: Cops have remarkably bad aim.

#thingslearnedfromBonnieandClyde: a pattern of crime & illicit behavior is a good way to get to know somebody. its like courting for sinners

#thingslearnedfromBonnieandClyde: never trust anyone named Malcom.

#thingslearnedfromBonnieandClyde: it takes at least twenty direct hits by tommy gun to kill true ganstas like Bonnie and Clyde.

Fantastic film overall. I definitely feel as though I learned many valuable lessons if I ever desire to turn to a life of crime. Lessons of survival, who to trust, and safety measures to ensure every job is a success. In all seriousness though, I really loved the way the film showed the two main characters utter abandon of society for each other. The way they both held the lighter that set the world aflame was actually endearing and I was sad when they were finally blown away in a blaze of Po-Po gunfire. But I guess every gangster gets a taste of their own bullet one day.

The song starts off ah la Jay Z’s black album minus Jay’s Mom’s monologue. A strong four/four beat with samples, keys, hand claps, and even the omnipresent, chipmunk-sounding female vocal. Excluding Alvin, the song is completely vocal-less for the :45 second intro (almost 1/3 of the song!), but when the vocals do come in I was completely surprised: the singer sounds more like the dude from the Shins than Kanye (or T Pain, but I think he’s a guilty pleasure of mine.)

Is this a mash-up I have never heard before? Indie Rock and Hip Hop? While it makes perfect sense for the modern white boy to comodify modern black culture, I would expect it to be more like Eminem or Andy Samberg, not Hipster Runoff MC’ing an uptown NYC club.

Passion Pit’s “Sleepyhead” reeks of MGMT to me (as if I’m an expert) but its up-tempo, happy club feel betrays its forlorn lyrics about destruction, isolation and the lack of understanding the other, even if they only happen to occupy the same dance floor. Wait a minute, does this remind you of classic white boy pain? Overly emotionalized lyrics about not understanding the girl on the other side of the room? Hmm, sounds like postmodern wire framed emo to me. Still rocks though… even if you’re dancing to this one by yourself. 5/5

Download it Passion Pit “Sleepyhead”

The first one is called Pride and Predator and it’s about Elizabeth Bennett and the rest of the Bennett family that are going about their daily lives worried about finding the right suitor whom they love and who also is rich enough to support them, etc, etc, you know, the English Regency period and stuff. That is, until the extra-terrestrial killer alien from the popular series that bears his name shows up on earth and start wrecking havoc. Oh boy, I can’t wait to see the Bennett family and Mr. Darcy cope with the Predator. Oh, and one is going to produced by Elton John’s new movie production company called Rocket Pictures. While Sir Elton isn’t going to be directing the film, he will be supervising the musical selections. Does that mean we can expect a few piano driven love ballads between Eliza and the Predator? Maybe “Can You Feel My Boiling Hot Saliva Acid Tonight?” One can only hope.

The second of our brilliant bastardizations of the classic Austen novel is titled Pride and Prejudice and Zombies and the idea behind it is very similar to our first adaptation except instead of invaders from outer space, our monster is of the human variety, well, sort of. Not only do the Bennett’s have to worry about finding a husband and the Napoleonic wars, they have to be careful their brains aren’t eaten out of their skulls when they’re not paying attention. And I thought Shaun of the Dead was the height of the Zombie/Comedy/Horror genre.

Now you’ve undoubtedly guessed, they are based on books. Well, Pride and Predator is based on a short story called The Amazing Trousers which doesn’t seem to have much to do with the premise actually, and the second is based on the forth-coming book of the same name that isn’t due to be released until April! The rights war that is being fought by the movie production companies was based on the cover that was leaked earlier this year. I am so very excited.

There are a lot of things to read about these two films, so check it out here:
NPR All Things Considered
10 Literary Classics That Could Use Monsters, Robots & Gore
Get ready for ‘Pride and Predator’
Would Jane Austen Had Preferred Aliens of Zombies
The Amazing Trousers Trailer

With most of the actions movies announced thus far looking like absolute chotchey-crap (ie Street Fight the Legend of Chun Li and Dragonball Evolution which is to say bot X-Men Origins: Wolverine and the new Terminator are going to be decent. Time will tell.) these two films made me very excited. I’ve also been off on a horror movie kick every since Curtis Blackwell and I began Horror Movie Monday a few weeks back. Nonetheless, I think these Jane Austen adaptations have a lot of potential for at least being one of the more interesting ideas in the sci-fi/horror/comedy genre that have surfaced in some time. At the very least they’re bringing in an entirely new element, historical fiction rather than 50s, modern day or the future for these kind of settings. What do you think?

Another complaint about the book is it reads like an impromptu conversation. Kauffman seems to write off the cuff about his memories of his college years, as though it’s a transcription of him speaking the book into some hand held recording device. This initially turned me off to the book, and by and large adds to the idea the punk rock isn’t exactly intellectual. While it makes for a quick read and seems to be in line with the tone of voice of punk rock (generally, and argumentatively), it sometimes sounds rather asinine and adolescent for an author with a masters degree.

Overall, I give it a C+.

On the upside, now that I’ve finished NBNJG, I’ve started reading The Anti-Matter Anthology: A 1990s Post-Punk & Hardcore Reader by Norman Brannon. It’s a collection of artist interviews done by the author from 1993-1998 (I believe) for a fanzine the author published called, surprisingly enough, Anti-Matter. The interviews are not your typical “you’ve got a new album coming out, what was it like to tour with…, so you play Gibson SG’s” type of literary fodder found in most music magazines but is an attempt to make traces of humanity itself. The interviewees in questions just so happen to be musicians playing some form of punk rock. I’ve read the foreword and the introduction, as well as the first page of an interview with the lead singer of Samiam, which I am unfamiliar with at this moment in time, right after signing to Atlantic Records. I’m sure this blog will read more about it as I myself do as well.

Oh, and it’s the second Monday of Curtis Blackwell and I’s weekly “Horror Movie Monday.” Last week we watched the pretty terrible movie Wrong Turn which is apparently what The Hills Have Eyes is based on. Don’t bother with it. I’d give it a 1.5/5. While not the worst horror movie I’ve ever seen (that would probably go hands down to Snoop Dogg’s Hood of Horror), it certainly isn’t worth the hour and a half the could be spent doing laundry, washing the dishes, or taking out the recycling.

Tonight we’re watching The Thing From Another World which is one of my all time favorite horror movies about a group of US military scientists who stumble upon a crashed UFO and a deceased alien inside… or so it seems! Can’t wait. It’s a fantastic film.

Anyway. Enough blogging for this morning.

The Bluebird is a dive. A small, hole-in-the-wall type of club that you wouldn’t notice just driving by. But that’s how most places are in downtown St. Louis unless they’re filled with trip-hop beats and flashing red and blue lights (like Rue 13 or Lush, for example.) But, like most other cities downtown on a weeknight you’d barely see any activity whatsoever especially at the clubs (and definitely early in the evening, like eight pm) except (maybe) at a random, hole-in-the-wall, rock club like the Bluebird. Unfortunately for myself, Young Widows and St. Louis in general, downtown activity is sparse at best, and completely abysmal at worst. This applies most tragically to out-of-town, independent-label, “never-heard-of-them-before” rock shows. In a city where Pink Floyd and Led Zeppelin cover bands can sell out multiple evenings at 1000+ capacity venues, and promoters don’t put on shows for local bands because they don’t break even; basically independent music doesn’t stand a chance. But tonight, everyone who wasn’t in downtown St. Louis at the Bluebird missed out because Young Widows were fucking awesome.

When I arrived at the Bluebird I did what all gear-o-philes and music/musician-snobs do: I judged the band based on their gear. Young Widows gear was back-lined, but not very well hidden by the opening act’s. Based on my first impression their gear appeared

#1) really freaking awesome in quality and
#2) really freaking cool how they set it up.

I knew the brands, and their gear was quality but not too terribly interesting. So you both have three cabs and two amps, big deal. Most three-piece acts have a difficult time balancing practicality with ingenuity while being visually exciting during performance. To battle the 2nd problem, most hardcore acts employ a single, instrumentless front man (which YW had while they were still christened Breather Resist). This is usually needed to keep the kids interested, but I am not a kid and I don’t need a overly enthusiastic figurehead in woman’s jeans up front flailing around or a muscle-head with a “Terror” shirt on or–better yet–no shirt preaching a/no message of no smoking, no drinking, no God or, you know, politics. I’m generally open minded, and bands can be passionate about their beliefs, but don’t shove it down my throat dude. Seriously, don’t tell me to be open-minded about why I shouldn’t be a Christian (or Muslim, or Buddhist or even atheist for that matter…), eat meat, buy Diesal shoes or what have you. So you don’t like what I do. Good for you, dude. Now play your next song. Fortunately (and despite actually having some cred that if they wanted to preach they could and I would listen) Young Widows weren’t confrontational, verbally abusive, or preachy at all, and are exciting enough as a three-piece that they don’t need an over-the-top frontman either.

Besides being a three-piece, Young Widows had another difficulty to overcome: they have just one guitar. Granted, some of the best hardcore bands have had only one guitar: Converge, Curl Up and Die, Botch, as well as most of the patriarchs including Bad Brains, Black Flag and Minor Threat. Usually these one guitar bands run into the problem of sounding “thin” or off balance and have to find a way to beef up their sound since they don’t have two chunky rhythm players projecting abrasive guitar noise from both sides of the stage. In order to sound fuller, the Widows had two sets of three 4 by 12 cabinets (custom Emperor Cabinets at that) on each sides of the stage. These were not your standard, square four twelve inch speaker cabinets set two by two. These cabs were tall and skinny, with the speakers forming a straight line, one a top the other. These cabs were interesting looking but I didn’t know the full extent of their interestingness until they started playing.

Before Young Widows set began, they requested the lights in the club be turned off. I saw they had a few desk lamps attached to their mic stands, and a white, glowing, UFO-looking foot pedal that I assumed was to turn on more lights. Towards the middle of “Took A Turn,” the first song of the set and also the first song of their new record Old Wounds my suspicions were confirmed when bassist, Nick Thieneman, stomped the pedal and the 4×12′s on the far left and far right of the stage lit up with four 12 inch speaker-sized work lamp lights in each. This is an idea my old band came up with but never properly implemented and it’s a very creative way to light your performance. (Here’s a decent pic of their set-up.)

When I played in Pilots, both my bass player and I stacked four amps on stage anytime we played. I had two on my side, and he had two on his side. The Widows did this as well, but instead of having both on either side, they split them up, both players having one on each side. This also accomplishes two seemingly contradictory things: it blurs the stereo image (by having bass and guitar on both the left and right) as well as creates many new stereo opportunities (which the Widows took advantage of.) Evan Patterson (guitar, vocals) ran a Peavey 5150 and a Verellen custom amp and each amp had its own pedalboard featuring Akai Headrush loop pedals on each. Sometimes Patterson would loop a riff on one side, then loops some fret and pick noise on the other, then play a lead over top of that while singing. He also employed (I believe) a Line 6 Tremolo pedal which has two outputs for stereo, “ping-pong” tremolo sounds. Both Patterson and bassist Nick Thieneman also employed overdrive pedals and A-B boxes at end of their respective pedal trains so they could silence one cab or both cabs while playing. This was one of the more ingenious tricks because of how much more control they had over their dynamic level. This is a trick I will steal in the future.

Young Widows pounded through all eleven tracks of their new record Old Wounds. While I was hoping for a song or two from their first effort Settle Down City, I was very satisfied by the length of their performance (especially considering how terrible the first band, Glass Teeth, was. Upon further reflection, and after listening to their demo, I think I kind of liked their set actually.) Young Widows sound like a freight train: power, rolling thunder and velocity with a consistent groove. Theineman’s thick, fuzzy, moving bass lines like the chug of the train itself in perfect sync with drummer Jeremy McMonigle and his constant kick and tom hits like the wheels the train rolls you over with coupled with Patterson’s telecaster wails and sometimes bright and chimey leads, other times thick and chunky chords that controls the train and billows such colorful smoke you’re left dizzy from the CO². Conducting the train was Patterson and Theineman both with partially sung, mostly shouted directions. The set was a-coming-down-the-mountain ending with the dead-on triplets of “Swamped And Agitated” that are both groovy, and menacing.

Another stand out track both on their new record and their live performance is Patterson’s solo performance of “the Guitar.” A song that begins with a simple two chord groove and melody. Patterson slowly builds the song, layer by layer, by looping each part he adds, and playing lead while singing. The song slowly pulls you in with its methodical, repeating “do-DUN-dun, do-DUN-dun…” and lyrics “got addicted at an early age.” Patterson’s lyrics in “the Guitar” are about falling in love with music, and we’re left unsure whether or not he desires to love it so, or if it’s requited. He speaks of learning, or more accurately, not-learning, how to play the guitar as a metaphor for his creative process. The feeling of writing a song, of creating a piece of art, is addictive, but for most, Patterson included, the process cannot be “learned” much like when he “got a guitar, but never learned how to play;” the music just comes out.

While St. Louis is the city most bands love to skip, myself and the several others at the Bluebird on Tuesday were incredibly grateful Young Widows didn’t, and that their pummeling, groovy post hardcore compulsion was indulged.

Links:
Young Widows official site
Young Widows myspace
Young Widows blog
Young Widows photos on Flickr

Here’s this weeks goals:
- Finish reading “It Still Moves: The Search for the Next American Music”
- Remix one Pilots/When Sorrow Fails song (or, I’d accept re-tracking guitar/bass)
- Write the first section of my Dashboard article (or make notes of High Fidelity portion)*check*

So, whomever’s reading, keep me accountable.

While seeming trite and rather comical at the moment, the pastor encapsulated the meaning of community as well as making it clear how each member should respond to Lars. Through the love that each member shares throughout the film, Lars begins to understand that he is loved, and the delusion fades.

What is it about love that is so hard for many of us to practice in community? How are we responding to those at the fringes (Lars and his church or coworkers), and those who are close (Lars and his brother.) What can we do to create a loving atmosphere for those who truly having something wrong with them? And how can we love ourselves to prevent things like that happening to us on small and large scales?

First quick thought. I was listening to the This American Life podcast and 8/18′s issue was titled “The Break-up.” Naturally, it’s about relationships and their endings, and how people react to that. Mostly the reaction of anger and longing, and “oh how could it end we were so perfect.” Two stories are examined in particular, both woman, about the pain associated with events, areas, songs, foods, feelings, etc, that they associated with their “other.”

Chris Carraba as John Cusak as Rob Gordon in High Fidelity
Chris Carraba as Steve Carrel as Michael Scott in the Office
Chris Carraba as Chris Henningfeld

Actually, if you can stomach a very predictable storyline, it’s not so bad.  There’s truth in the story too, marriage isn’t easy.  Anyway, the only reason Caitlin and I went to see it is because of John Krasinsky.  We all know him as “Jim” from the Office.  He pretty much played Jim is this movie, although it was with Mandy Moore as “Pam” and that was disappointing as I’m sure you all could guess.  There were other Office people in it briefly too.  Kevin, Angela, and Kelly all had a few lines and were quite funny.  Worth it for me.  I love the Office.

The other day we saw Once at the independent film theater in downtown Colorado Springs.  Very good film.  The ending wasn’t what I would’ve guessed, and I was glad.  Anyway.  It’s pretty much a musical, but in a very non-”this movie’s a musical” way.  Two songwriters chance to meet, hang out for a week, record some songs, and begin to pick up their before they met messed up lives.  Very good.  The music is incredible too.  I do highly suggest all my friends see it.  Especially is you like “O” by Damien Rice.  Very Rice-esque, though more visceral.

That’s it till later.

Quite good.  Very beautiful fantasy.  I can see why so many people were raving about it.  I liked it’s use of conventional, fantasy story-telling elements but also how director Guillermo del Toro played with those ideas too.  I liked the color very much too.  Most of the movie is very dark, and dull, but some things, like blood for example, are very vivid.  Throughout the movie I wasn’t sure who I could trust, so I was surprised at the ending a bit.  Quite good, I would recommend it to you, my friends.

I think the actress who plays Ofelia in the movie, Ivana Baquero, would be the perfect choice for Alfonso Cuaron‘s adaptation of the Nicole Krauss novel, The History of Love.  A lot of people seem to think Emma Watson from the Harry Potter movies would be a good choice.  Maybe.  But I don’t think she’d be quite the same as Ivana.  Just a thought.

The girl from Y Tu Mama Tambien was in it too.