Archive for the ‘pop culture’ Category

Crowdsourcing: GRAPHIC NOVELS! Edition

June 4, 2010

Here’s the scoop: Despite the fact that I am sort of a cartoonist and “into” graphic art, I am, sadly, not totally on the up-and-up when it comes to comics and graphic novels! So, I need recommendations from you fine folks for a project that I will be starting on rather soon. I am mostly looking for autobiographical comic/graphic novels, comics/graphic novels having to do with illness or disability, race, and/or gender and sexuality (I prefer non-fiction for these categories),  and comics/graphic novels that cover awkward situations in childhood, adolescence, or young adulthood (fictional or not).  Also, how-to books (such as Eisner’s Comics and Sequential Art, which I already own and have dog-earred to infinity) are also welcome as suggestions, as I will definitely need inspiration for writing a long-form graphic piece.

Here’s a list of stuff I already have that is in one or more of the above categories: One! Hundred! Demons! (Barry, 2002); Fun Home (Bechdel, 2006); Funny Misshapen Body (Brown, 2002); The Spiral Cage (Davison, 1992); Cancer Made Me a Shallower Person (Engelberg, 2008); Jokes and the Unconscious (Gottleib and DiMassa, 2006) Stitches (Small, 2009), American Born Chinese (Yang, 2006) [thank you Anna for reminding me of this one!].

PLEASE, SUGGEST AWAY!

Creepy Crocs

June 2, 2010

[Description: A young-looking white woman enters what looks like a fancy lobby and climbs a set of stairs, to soft music. Cut to a closet, where a pair of anthropomorphic orange slip-on shoes peek out of the door. One makes a "quiet" motion to the other. The woman unlocks the door to her apartment, and the shoes open the closet door. A dog looks at them as they come running out of the closet, tripping over some dog toys as they do so. The shoes grab onto the woman's ankles as she enters the apartment. She sits down, and they remove her high heeled-shoes, then begin to massage her feet. Voiceover: "Meet Croslite, the loyal, loving, good-for-you-technology in every pair of Crocs." The woman stands up from the couch, and this time her feet are clad in a pair of red flats. She walks into another room as text onscreen reads "Feel the love" and Crocs shoe-styles "rotate" near the text, and the Crocs logo appears below it.]

I can’t be the only one who’s creeped out by this TV ad for Crocs; it has the general aura of one of those ads that’s supposed to be cute but just ends up seeming totally fucking creepy. As comfortable as Crocs are, I do not want to associate my pair (surprise, they are orange!) with scary little shoe-people who are just so excited when I come home that they cannot help but grab onto my ankles, then smile and blink as they massage my feet (which are probably stinky and certainly not that nicely manicured).

Furthermore, I can only imagine what the pitch meeting for this ad must have been like.

So, what are your favorite ad campaigns in which a sense of creepiness (or outright horror) rises from the ashes of cute and/or endearing?

In which Roxy Music provides a much-needed Lesson For Us All

May 16, 2010

[Image description: A raven-haired man wearing a black velvet suit and white shirt leans against a wall.]

First: LOOK AT THIS STYLISH MAN, OTHERWISE KNOWN AS BRIAN FERRY. He is SO STYLISH. I wish I could be half as stylish as he is. I have a black velvet blazer hiding in my closet, which I have been known to break out when I, too, wish to be stylish in the way that only a rocker from the 1970s can be, but have not yet found a pair of velvet pants to complete the look.

Second: While writing some of this, I realized that it might be helpful to have some actual examples of precisely what I mean when I say that Roxy Music is an amazing band, so here is an entirely separate post in which I share some of my favorite songs of theirs.

My favorite bit of music trivia ever is Roxy Music-related**: band member Brian Eno did not know how to play the keyboard before he joined Roxy Music. For reasons as to why this is completely amazing, look no further than Wikipedia’s page on Eno. He has gone on to have a lengthy, influential and successful music career even though he once joined a band, as its keyboard player, without knowing how to play that instrument.

I love Roxy Music and Brian Ferry not just for the music, but because they remind me that I can have an impact with my own work that, though it will most definitely not appeal to everyone, may have some sort of impact on someone. I am an indescribably crappy guitar player (mostly because fibromyalgia-related hand and arm pain prevent me from banging out anything other than a few chords). I am not a great singer. I will never be Ani DiFranco. I will never be Patti Smith, nor PJ Harvey, nor Tori Amos, nor Alanis Morissette, nor Beth Ditto, nor Me’shell Ndegeocello. These people are all talented, I am a fan of each of them, and their success is well-deserved; however, I will probably never approach that level of success, as the work I do is not in the getting-up-onstage-and-singing-in-front-of-people field.

Hell, I have a blog. Which I write on, and which I take extremely seriously. I write and draw a lot of stuff on various topics — most of this work has not been published (yet), or shown to other people (yet), and almost none of it has been the center of controversy or much attention (barring my work on that one thing).

If I may be philosophical and mildly tedious for a minute: Roxy Music and Bryan Ferry’s work remind(s) me is that there is a whole lot of good in just being whatever you are and, simultaneously, not knowing what you are doing all of the time (like Brian Eno and the whole not-knowing-how-to-play-the-keyboard-thing), and that it is okay to be “okay” at something as long as you love it. You do not have to be the greatest and most original band/singer ever to make an impact.

And, paradoxically, that is part of what makes Roxy Music such a great band.

Your weirdness, your originality, and your style do not have to be constantly calculated down to the very millisecond, or planned out in infintesimal detail, or boasted about on Twitter every ten seconds. There is room for those things to just develop and grow by themselves, if you let them. I think many segments of the entertainment industry–and, unfortunately, a lot of “creative” types–tend to forget this. Of course, part of that is how the “business” works, but for those of us who aren’t in the industry (but who are still in the age of Twitter, MySpace, and Facebook wall updates with instantly-emailed notifications), this can be difficult to remember.

But, it is worth remembering.

**[That is, other than the rumor that Tori Amos has $100,000 worth of "hand insurance" in case her hands are ever irrevocably injured. I am sure there is a source for this somewhere on the internet, but I haven't quite found it yet. If any Tori fans have a citation for said factoid that proves or disproves this rumor, please feel free to leave it in the comments so that I can continue being lazy in regards to internet research.]

Monday music post, “final exams!11″ edition

May 10, 2010

Hello readers! You may have noticed that I have not updated in a week or so. This is because I have been busy with final exams and such. But I have a lot of cool posts planned for when I am FINISHED with finals, so please bear with me.

Anyway, here are some songs that I have been enjoying as of late. If you have songs that you would like to share, you may leave YouTube links in comments (lyrics are also good!). Or just talk about stuff you’ve been listening to lately, or concerts you’ve seen, or albums you’ve (re)discovered. Whatever — it’s up to you.

First up, here is a suitably intense version of Tori Amos’s “Blood Roses” from 1999 or so (lyrics here):

Next, we have “Here Lies Love” (lyrics; vid is audio-only) by David Byrne and Fatboy Slim with Florence Welch, from the recent concept album of the same name, which is SO AWESOME and you should track down a copy (especially if you like disco, concept albums, and/or female singers):

Finally, an oldie-but-goodie, “Ocean” by the Velvet Underground (lyrics; vid is audio-only):

Why Roxy Music is awesome (as is Bryan Ferry)

April 12, 2010

This is part one of a two-part post on Roxy Music and Bryan Ferry, and why they are fabulous. The songs here are some of my favorites, and this post is intended to give readers/listeners a little preview as to this band’s total awesomeness. Take it away, random YouTube users!

“In Every Dream Home a Heartache” from For Your Pleasure (1972): This, unequivocally, is the song that made me a Roxy fan. There are so many layers here — like a delicious sandwich, if you will pardon the metaphor — and, more importantly, you do not have to know jack shit about music, songwriting, or composition to realize this. The lyrics, I think, essentially predicted suburbia’s dead end and/or souless McMansion-white-picket-fence-with-traditonal-heterosexual-marriage-big-SUV-and-2.5-children before those things even existed as specific Western cultural artifacts. I am sure that there is some sort of Technocultural Studies dissertation that could be written about this song (perhaps with a snappy, oh-so-postmodern title to go along with it?), but my relentless fannish devotion (among other things) prevents me from even considering taking on such a project.

“Mother of Pearl” from Stranded (1973): While it’s not my favorite Roxy song, it is a classic, and a good introduction to the band’s overall style.

“The Thrill of it All” from Country Life (1974): Ignore the retrogradely sexist cover art — and also dig the weirdness of that command coming from someone who has a degree in Women’s and Gender Studies (namely me). Country Life is my favorite Roxy album other than For Your Pleasure, and admitting this probably counts as blasphemy in some circles (as it was the group’s first album after Brian Eno left). But admit it, I must, because the album is so freaking good. And one verse (somewhat indirectly) alludes to a rather famous Dorothy Parker poem, so what’s not to love?

“Casanova” from Country Life (1974): This is my favorite Roxy song of all time. I can’t quite put into words how fantastic it is in every way possible; thus, I urge you to listen. The lyrics are brilliant; anyone who’s been graphically catcalled by gross dudes or unskillfully hit on by some creepy, drunken fraternity trust-fundie asshat at a bar will be able to relate. I would like to think that this is Bryan Ferry’s message to other dudes in which he says, “Guys, stop acting like such monkeys and/or thinking you’re totally suave, because you are actually the opposite of suave,” but my interpretation could be way off.

“Same Old Scene” from Flesh + Blood (1980): It’s from the ’80s! Otherwise known as that decade where some mostly drugged-out rich people made a lot of terrible music, and which is mostly invoked when hipsters want to be nostalgic for crap that they were too young to remember as crap! But please, do not worry, because “Same Old Scene” is an example of something good that came from that decade.

And if, after all of that, you need evidence that Bryan Ferry’s “still got it,” look no further than his many Bob Dylan covers, including “Don’t Think Twice, It’s Alright” (performance is in the first two minutes or so of the clip, and the rest consists of him talking about his album of Dylan covers, which is also interesting):

Better than the original, I think (again, blasphemy in certain circles). But then again, I am one of those weirdos who really likes his cover of “A Hard Rain’s a-Gonna Fall,” (link goes to an absolutely incredible short film of Ferry’s version that must be seen to be believed), mostly because that cover is so bizarre that it ends up being wildly entertaining.

That concludes part one of my Roxy Music/Bryan Ferry post; part two will be posted soon.


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