Andrew Bird -- Armchair Apocrypha (2007)
0 Comments Published by Chris on Wednesday, April 18, 2007 at 10:35 AM.
Cliché or not, Andrew Bird has come a long way in past ten years. From his stint as violinist for hot-jazz revivalists Squirrel Nut Zippers to the non-stop barrage of eclectic solo albums, the dude isn't afraid of tweaking his sound to improve it. And thankfully, the little tweaks make Armchair Apocrypha his best release.Handling the bulk of instrumental duties himself, Bird piles violin, guitar, glockenspiel and whistling (he's an ace whistler) atop one another to form structurally impressive pop songs. Tracks slap everything from gypsy swing to folk rock together, more often than not using Bird's deft lyrical imagery as glue. And from the metaphysical "Dark Matter" to the pop culture-probing "Plasticities," the album is as thoughtful as it is impossibly catchy.
Armchair Apocrypha is that rare album not only provides common ground for classical musical purists and Top 40 radio listeners, but also ends up being Bird's most accessible release without sacrificing anything in the process.
Labels: andrew bird, jp, music, number twenty-three
The makers of this film had great source material for this. You can read the book of Esther in less time than it takes this movie to draw out the mundane parts of the story.The film doesn't even qualify as a good Sunday-school lesson. The important parts of the story are pushed to the margins to make the film the story of one woman's courage to change the heart of King Xerxes (also one of the stars of the film 300). At times the film seems forced into trying to be a romantic tale. I found the interpretation of the story to be trite (there are overt references to Haman being a Nazi; red and black flags with a frightening symbol on them).
Where the text allows for high drama, the audience of the film gets bad montages and didactic narration. I have always found the story of Esther to be fascinating, but this version makes it seem absurd.
Labels: gpv, michael sajbel, movies, number twenty-three
The current hot topic of justice is the subject of David Batstone's "Not for Sale." Offering detailed accounts of slavery found in the United States and in outside countries, the words flowing from the pages touch close to home. This is not an easy read. Although it is intriguing and heart wrenching, it is also scary, holding stories of which we would rather claim ignorance.The official book of the Amazing Change campaign, this book both challenges and offers hope. Batstone skillfully networks together the different abolitionist efforts such as International Justice Mission and Free the Slaves, showing that this is a joint effort that needs more energy. He writes with passion and high expectations as he challenges readers to become abolitionists, a vocation that he believes still continues. This book tells stories of college students who have made successful efforts towards abolition.
Read this book. I challenge you to read it and to not feel a fire burn inside of you as you read of children soldiers in Uganda, of little girls being enslaved, of women continually tricked into prostitution. My hope is that after reading "Not for Sale" you will be unwilling to except the sight of injustice without digging past the surface.
--sk
Labels: books, david batstone, number twenty-three, respond, sk
This band is part of a noticeable trend that has been occurring in the past couple years known as “Spanglish.” Bands like N.O.R.E. (pronounced NOR-EE or Ene-O-Ere-Eh), Daddy Yankee and Shakira have been throwing both Spanish and English into their songs, making their potential audience larger.Dedicated to Puerto Rico, the album features Fat Joe, Diddy, Ja Rule and many others. For the genre lovers this album is known to be reggaeton, rap, and hip-hop. The album title translates to something like, “[N.O.R.E.] and the family…Now you know.” What they are trying to relate by this is that they are going to talk about how things are in Puerto Rico. Then, in the end, you will understand.
Many of the songs have definite references to Puerto Rican culture and history. In the song “Y Voy,” they speak of a Jibaro, a specific reference to the working-class man on the island. There are also references like “Boriqua,” slang for a Puerto Rican male or female.
It is surprising that this album was not more popular. It is a great compilation of genres, cultures and artists. Though the lyrics may not be the best, it is a good album. The artists put thought into what they were making and made conscious efforts to make this album very specific to Puerto Rico.
Labels: jc, music, nore, number twenty-three
I've been making short films since the summer before my Senior year of High School. Since then I've made over 70 short films. As to why I make films on my own, instead of just for classes, it's mainly because I couldn't stop even if I wanted to. I believe this is what I was meant to do.I always think of Eric Little from Chariots of Fire when I think about making films. He says that he feels God's pleasure when he runs, and he can't stop running because God made him fast. I feel the same way about making and watching films. When I see a film by directors like Wong Kar Wai, Jia Zhang Ke, Chan Wook Park, or Hou Hsiao Hsien I not only see God in the humanness and artistry of those films, but I feel God calling me to go out there and do the same.
God loves films. He loves new innovative styles and cinematography. And I love films because I see God's beauty and truth in them. He made me to love films, and I'm just doing what he created me to do. That's the amazing thing about movies--they capture God's creation. Films capture humans in God's world, and we can experience so much of God's love, truth, and beauty in his creation through films. And the cool thing about it, is that we experience them through a film in a new, fresh, unique way that we could never do in real life. A minimalist film like Last Life in the Universe shows a real-life situation in Bangkok. But the style of the film makes it extraordinary. The music, the cinematography, the pacing-- all of these things add to this world that would not be there in every day life. Films celebrate the possible beauty of everything! As Christopher Doyle says, "maybe--just maybe--by celebrating the possible beauty in things, films can change the world just a little."
The other huge reason I make films is because I think (I hope at least), that I have something to say that will mean something to someone. I want people to walk out of my films asking big questions. I want people to love people more after watching my films. I want people to love God more after watching my films. I want to challenge people in the messages I bring across.
I hope my latest film Got a Light accomplishes some of that. I hope I showed the beauty of God's world and God's people in this film. The film is showing on at 7 p.m. on April 21, in John White Chapel in Old Main, but people can show up as early as 6 for refreshments.
--Mark Sanders
Labels: mark sanders, movies, number twenty-three, respond
The Light for Darfur Project arose from the desire of students to raise awareness about the situation that has been going on in the Sudan for the past four years. The project will culminate with an event in Johnson Gym on Saturday, April 21st from 4-7 p.m.During the first hour, attendees will have the opportunity walk through a pictorial history of genocide. Dr. Ali Dinar, a native of the Sudan and professor at the University of Pennsylvania, will be speaking at 5 p.m. Students have been hard at work to create a multimedia experience that will challenge you to move from being a bystander to an active participant in the fight against the injustice of genocide. There will be opportunities for prayer support and also monetary support through donations and the purchase of t-shirts. Come and be educated, informed and challenged.
For more information on the Light for Darfur Project, visit our website at http://www.geocities.com/lightfordarfur.
-Rachel Veydt
Labels: number twenty-three, rachel veydt, respond
This is the basic four-man band: the singer with his guitar, another guitarist, a bassist and a drummer. Singer Anthony Raneri has a unique enough voice in contrast to popular music out on the charts right now, but the band doesn't stray much from the rock/pop-punk sound.Regardless, they are definite material to be popular soon. It is easy to understand and sing along to the words. The rhythm is simple enough to rock and dance to in concert. And they actually have a band name that is someone easy to remember.
So, let's suppose that this band does get popular with their new hit “Duality?” This is a song about two personalities. It is almost like any other, “I’m frustrated with everything” song. It is very insecure lyrically: “There’s no telling what tomorrow holds / There’s no telling which voice takes control / Is there anybody out there? / Is there anybody calling? / What if what I think is really wrong? / I’m not in control”
Being a fan of fun music when it comes to rocking out or dancing the night away at a concert, this song leaves me very conflicted as I see it is going mainstream and will be listened to mainly by young people.
I guess like many other bands, this band’s lyrics can not be taken all too seriously. Although, the sound is great, so have fun with it.
Labels: bayside, jc, music, number twenty-three
Joss Stone is a British soul and R&B singer. Her third album, Introducing Joss Stone, is not like her previous two. This album shows off her ability to sing over different rhythms and styles. Introducing... not only features guest appearances from Common and Lauryn Hill, but also is produced by Raphael Saadiq, the former lead singer of early '90s pop music band Toni, Tone, Tony.Saadiq brings a lot syncopated rhythms, off-beat drums and catchy loops to the album. This all blends for on awesome pop and soul sound. This forces Joss to sing in different styles; as a result, she's not able to showcase her voice as much. This is good if you just want to hear some good music, but if you want to hear her strong voice, buy her first two albums.
It is a good album to have for a second date, relaxing with a special friend during open hours; it's also good if you just like Joss Stone or Raphael Saadiq.
Labels: joss stone, js, music, number twenty-three
Alias: Ben GuilesMajor: Sociology
Year: Freshman
Ben says the transitions on this playlist are amazing. Too bad imeem didn't have all the songs. Make sure you check out that claim though.
check out culture. ish. on imeem.
Labels: ben guiles, number twenty-three, playlist
Alias: Brad RomanMajor: Civil Engineering
Year: Senior
check out culture. ish. on imeem.
Labels: playlist
The Good, The Bad and the Queen -- The Good, The Bad and the Queen (2007)
0 Comments Published by Chris on at 10:33 AM.
Good art can’t be assembled from exemplary pieces like a fantasy baseball team. The Good, The Bad, & The Queen, the first album from the band formed by Damon Albarn of Blur and Gorillaz, falls prey to the usual supergroup problem: it sounds too good, too slick and too professional to be very interesting. Produced by Danger Mouse, and featuring Paul Simonon of the Clash, Simon Tong of the Verve, and Tony Allen from Fela Kuti’s backing band (Afrika 70), the album is lushly arranged but ultimately uninspiring. The lyrics, intended to be a portrayal of modern life in London, are somewhat evocative but rather vague and obscure; they’re far more interesting as poems in the album liner than paired with the music.The album does have a few high points: “Nature Springs” shows the band melding their diverse styles with much more success than the rest of the album, and hints at promising results if this group can ever move past being a project and meld into a band. This album, however, is still fairly immature.
--ap
Labels: ap, music, number twenty-two, the good the bad and the queen
There have been plenty of movies made that tell stories of trauma; in fact, one might argue that almost all films are about traumatic experiences and how this changes and moves people through a narrative, toward either greater meaning or nihilistic chaos. These films need to find resolution in redemption or some level of healing in the afflicted person, or they ultimately settle for despair. When dealing with true tragedy, good films need to find an honest way to allow the audience to imagine the possibilities of hope and love.Reign Over Me is this sort of film. It never sinks to the level of despair, but is accurate in not providing false hope. Charlie (Adam Sandler) has been a recluse since the loss of his wife and three daughters on 9/11. He has stopped visiting friends and family, and spends his time playing video games, listening to music and collecting records. Alan (Don Cheadle), Charlie's former roommate, sees him scooting around town and tries to reconnect after a long absence. Alan soon realizes that he needs to try to help Charlie, but finds that the institutions in place for dealing with grief and loss are not adequate to the task. He realizes that it will require time and a slow reconnecting with a small group of new friends that might help Charlie to learn to live with the loss, and make sense of his own life. The film is really good at developing the characters, and as weird and random as the group seems, it works. The film doesn't try to make grand statements about death and loss. Rather, it simply shows that a little reflection on life can show us who we are and what it is that we love most.
Labels: gpv, mike binder, movies, number twenty-two
According to current polls, two out of every three people think that President Bush is doing a bad job running the country right now. This number must be higher among people with recording contracts. But with the recent crop of blatant musical statements of political dissatisfaction, Bright Eyes’ latest work, the Four Winds EP, stands out.Although his political commentary isn't hidden beneath layers of complex literary constructions, Conor Oberst did have the grace to craft his songs into clever and compelling metaphors, avoiding the descent into blatant and puerile name-calling that has plagued the work of other folks forwarding similar messages.
And while his lyrics do become heavy-handed in places (“the Bible's blind, the Torah's deaf, the Koran's mute/If you burn them all together you get close to the truth”), the album is not a tirade. The Four Winds is certainly tinged with sorrow and despair, but Bright Eyes keeps things listenable with his skillful folk rock arrangements. This collection of songs is one of the most palatable statements of frustration to come out of the cottage industry of dissident voices that have sprung up since Bush’s re-election.
Labels: bright eyes, music, nc, number twenty-two
When I was in the ninth grade I wanted to be cool. So, I bought the coolest album I could- Pearl Jam’s Ten. Everyone in high school seemed to love them. They sounded good, and it wasn’t like I had to reflect too hard on the lyrics that you couldn’t catch most of the word too anyway. It was about being cool. I’m not sure exactly how it happened, but my Dad (a pastor) decided that we should sit down and listen and read the lyrics together. At first this seemed even cooler, seeing as how my first experience of rock music was the Simon & Garfunkel my Dad recorded off the radio during his college days. But as we read the lyrics of songs like “Evenflow” and “Jeremy” I began to realize that this was disturbing stuff- painful and emotional songs about child abuse. My dad didn’t make me burn the CD’s or throw them out, he merely pointed out that there was a massive disconnect between my own life and experience and the music I was listening to. I came to the realization that I wouldn’t be listening to Pearl Jam anymore (My junior year of college I returned to them with more mature questions). I had to recognize my own limitations.
What I have come to realize is that while a Reformed view allows Christians the freedom to really engage and ask good questions of culture, it also places on us the responsibility of know where the boundaries are. Even before the Fall, God had told Adam and Eve the limits that they were under, not as slaves to God, but so that they could find their identity and flourish in their relationship with God, rather than being deceived by thinking of themselves as god. This has become clearer, or rather more muddled, after the fall, where we now see the world “through a glass darkly.” In a world with real goodness and real evil, we must come to realize what our boundaries are so that we are pursuing faithfulness, rather than running into ruin.
What we need is a community of conversation- a space where we can learn and grow in maturity and discernment. To be human is to be a creature in God’s world, and we flourish most when we live inside the limits that God’s grace provides. Engaging culture is not a free for all in which we celebrate every created thing as art, rather it is a careful process in which we work out our faith with “fear and trembling,” trying to discern the complexities of an originally good creation that we have screwed up by mistaking grace for irresponsible freedom. Engaging culture will involve developing appropriate gestures in response to culture; these gestures then shape our posture toward culture. Andy Crouch (Culture Makers, 2007) lists “condemnation, critique, consumption, and copying” as possible Christian responses to different things in culture. While each of these responses are appropriate for different things, we should not allow one of them to become the dominating response. Rather, within the limits of God’s world we have to become creators and cultivators of culture- to truly be salt and light in the world.
What I have come to realize is that while a Reformed view allows Christians the freedom to really engage and ask good questions of culture, it also places on us the responsibility of know where the boundaries are. Even before the Fall, God had told Adam and Eve the limits that they were under, not as slaves to God, but so that they could find their identity and flourish in their relationship with God, rather than being deceived by thinking of themselves as god. This has become clearer, or rather more muddled, after the fall, where we now see the world “through a glass darkly.” In a world with real goodness and real evil, we must come to realize what our boundaries are so that we are pursuing faithfulness, rather than running into ruin.
What we need is a community of conversation- a space where we can learn and grow in maturity and discernment. To be human is to be a creature in God’s world, and we flourish most when we live inside the limits that God’s grace provides. Engaging culture is not a free for all in which we celebrate every created thing as art, rather it is a careful process in which we work out our faith with “fear and trembling,” trying to discern the complexities of an originally good creation that we have screwed up by mistaking grace for irresponsible freedom. Engaging culture will involve developing appropriate gestures in response to culture; these gestures then shape our posture toward culture. Andy Crouch (Culture Makers, 2007) lists “condemnation, critique, consumption, and copying” as possible Christian responses to different things in culture. While each of these responses are appropriate for different things, we should not allow one of them to become the dominating response. Rather, within the limits of God’s world we have to become creators and cultivators of culture- to truly be salt and light in the world.
--gpv
Labels: action, gpv, number twenty
Let’s be honest: James Bond will always be James Bond. There will be explosions, there will be a ridiculous villain, and there will be a fairly offensive and chauvinistic approach to all the female characters. Casino Royale is no exception to the Bond formula. In addition to the sex and violence, however, the latest installment in the series takes an opportunity to slow down and do something very interesting.In the slower moments of the film, the writers take time to deal with the origins and consequences of the callous mindset that defines James Bond. They take a sensitive look at the casual sex-hound and remorseless murderer, which--while still admiring--shows a certain hollowness to his being.
Over all, Casino Royale is little more than a fun popcorn flick, but its moments of introspection lend it a gravity and sense of dignity seldom found in the blow-'em-up super-spy genre.
Labels: martin campbell, movies, nc, number twenty-two
This is car-commercial music. This is music that only feels meaningful when you’re at the bar and you’ve been drinking alone. This is a dull, dull, overproduced album. The lyrics are formulaic and uninspiring, and bear the distinctive shape of Nashville cookie cutter pieces (see, for example, such gems as “Had enough of wondering / what became of all the dreams she had / oh, they're out there somewhere”). The standard piano-rock pieces are mostly split between tracks that sound either like a mix of Coldplay and U2 run through a fruit juicer, or like absolutely generic CCM-ish cuts.A large part of the problem with this album is the production; “Rolls So Deep,” for example, would be an enjoyable, if unremarkable, Blur-esque number but for the effects on Matt Hales’ voice; as it is, the vocals sound as if they were ground up and pressed through cheesecloth. This album shows some promise, but isn’t actually good in its own right; it’s worth a second listen, but definitely not a third.
--ap
Labels: ap, aqualung, music, number twenty-two
