Category: pop culture

You or Someone You Know

I’m just going to go out on a limb here: You or Someone You Know by Worriers is my favorite record of the year. Such a perfect punk/power pop record – I listen to it when I’m happy, when I’m sad, when I’m sitting in the sun on my balcony, when I have to work too long once again. Headphones, speakers, smartphone – it always sounds great. The production is flawless. So warm, so smart, so great.
The opening track, “End of the World” is the song of 2020:

Set my sights on the life that you get when you put the hard work in.
Only to be told, keep your fingers crossed that they vote you a person.
I apologize; you’ve been trying to go with the safer bet.
It’s true I didn’t think that far, but how do you plan for the death of a safety net?

What can I possibly say, is it me or the end of the world?
Cover your eyes and ears and hope I don’t notice and nothing hurts.
It must weigh on you a bit, but it’s not me that has to fix it.
Could you just hold on to me for now?

And their account is one of my favorites on Instagram, too.

You or Someone You Know is out on 6131 Records.

A Hero’s Death

“A Hero’s Death” is the new single by Fontaines D.C.
The video is a great downward spiral with a Birdman-vibe, starring Aiden Gillen.
The song is really terrific, and it soundtracked my end of the workweek yesterday. Sometimes hearing a postpunk reminder that

Life ain’t always empty
Life ain’t always empty
Life ain’t always empty
Life ain’t always empty
Life ain’t always empty
Life ain’t always empty

is just what you need to hear.

A Hero’s Death is out in July on Partisan Records. Last year’s Dogrel was one of my favorite records of the year, so I’m really excited about this one, too.

New Muff Potter (Sic!)

Muff Potter released a new single and I’m so excited, I even reactivated my blog.

Last year, when I stood in the crowd of a frenetic, fantastic reunion show in Munich, I realized just how much I missed Muff Potter. I swiped away a tear or two and desperately hoped this wouldn’t be a one time thing, and there would be new literary, angry pop music by my favorite band.

A bit more than a year later, here is a new great single “Was willst du” and I’m so excited, I even reactivated my blog.

Let’s call this a comeback.

(Get the single here. Via Muff Potter on instagram and a dm from my brother.)

“Trust Love All the Way”: Go See If Beale Street Could Talk

If Beale Street Could Talk, the Barry Jenkins movie based on the James Baldwin novel of the same name, is a fantastic, beautiful, political, loving movie. Trish Rivers and Fonny Hunt are a young Black couple in love and expecting a baby when Fonny is arrested for a rape he didn’t commit.

https://youtu.be/N4m3t3G3Zqc

Barry Jenkins and James Baldwin have one thing in common. An image/prose language that is both realistic and, at the same time, incredibly poetic. Compared to Moonlight, the outstanding 2017 Academy Award winner, Beale Street is comparatively conventional in parts, but similarly terrific. The beauty of the love between Trish and Fonny, the support of Trish’s family is in contrast to the ugliness of the racist system.

The acting of the entire cast is exceptional, Regina King as Sharon Rivers deserves winning all the awards this season, including the Oscar for best actress in a suporting role. The two young lead roles, Kiki Layne as Tish and Stephan James as Fonny are great, particularly their close ups were tremendously heavy or heavenly light, depending on the scene. The breathtaking dialogues at the window in prison reminded me of the intensity of the prison dialogues in Steven McQueen’s Hunger.

Once again, Glenn Weldon of NPR’s Popculture Happy Hour podcast also sums up this movie together perfectly: “If Beale Street Could Talk has a gorgeous urgency.” 

I saw it as a Valentine’s Day preview at Zebra Kino Konstanz. The movie will be released more widely in Germany on March 7th, 2019. Go see it if you have a chance.

The Oscars Love Racial Reconciliation Movies.

Wesley Morris sums up the problem with Oscar-winning movies like The Green Book for the New York Times:

The money is ostensibly for legitimate assistance, but it also seems to paper over all that’s potentially fraught about race. The relationship is entirely conscripted as service and bound by capitalism and the fantastically presumptive leap is, The money doesn’t matter because I like working for you. And if you’re the racist in the relationship: I can’t be horrible because we’re friends now. That’s why the hug Sandra Bullock gives Yomi Perry, the actor playing her maid, Maria, at the end of “Crash,” remains the single most disturbing gesture of its kind. It’s not friendship. Friendship is mutual. That hug is cannibalism.

“Was Holly Golightly Bisexual?”

For the Paris Review, Rebecca Renner compares Truman Capote’s novella and the Breakfast at Tiffany’s movie script, particularly concerning Holly Golightly’s sexuality:

“In other words, Holly’s sexuality doesn’t matter quite as much as how the world perceives and polices it. For Holly, sexuality is part of the persona she has woven around herself. She is a Gatsby for a new era, one where women can only be themselves when they run away from men and society’s expectations.”