Casual Reviews of Movies, Music, and Literature

Monday, September 18, 2017

All My Life: The Foo Fighters and My Personal Music Revolution

To put it bluntly - the world of commercial art is bipolar. On one end, to be popular is to be revered. On the other, to be popular is to be reviled. Half of the world screams for the most successful band, while the other half screams at them. The first faction finds validation in mass consumption, yet the second sees popularity as a "lowest common denominator" scenario. It's the age-old war of Artistic Integrity versus Selling Out, and it's been waged in record stores, coffee shops, and college dorms for generations. Still, there's no clear victor.

As a kid, I was a staunch supporter of the second faction, especially related to music. Hearing a song more than once on the radio meant it was "too commercial," "dumbed down," or "for the masses." Popularity turned rock & roll into, well, pop music. My sixteen-year-old brain, diluted by ego and Mountain Dew, scoffed at the idea of pop music. I scribbled the names of indie bands all over my notebooks and sneakers - the more obscure, the better. The Velvet Underground. The Shins. Do Make Say Think. Hella. The less people knew (or had even heard of) the bands I liked, the happier I was. And if I liked a band that actually was popular (Red Hot Chili Peppers, Coheed & Cambria, Radiohead), it was virtually guaranteed that my favorite album was some early demo or B-side collection. Because, you see, I was a card-carrying member of team Artistic Integrity. From age twelve to twenty, that's what I thought. If you happened to disagree, you were uninformed at best and offensively stupid at worst.

Yeah, I was insufferable.

Yet there was always a dissenting voice in my head. Whenever I snidely chuckled at the philistines around me, listening to Fall Out Boy or Maroon 5 or Nelly, a piece of me crumbled away. Because although I may have talked about The Mars Volta or the new John Frusciante record, I listened to plenty of pop music. Well, plenty of pop rock. And there was one band in particular that I enjoyed. Hell, not just enjoyed - I loved them. Still do.

They're the Foo Fighters.

Why do I love this band so much? Well for one, I was a kid when hits like "My Hero," "Learn to Fly," and "Times Like These" were inescapable. But youthful exposure isn't the only reason. Mostly, I enjoy the Foo because of their admirable lack of pretense. They don't claim to be the best band in the world, or the most important, or the most politically and culturally active. Instead, they make accessible, entertaining, down to earth rock. And they pull it off with a humble musicality that is refreshing in every sense of the word. Listen to "Have It All" and tell me it's not well-written. Listen to "The Pretender" and tell me it's not passionate. Listen to "Next Year" or "Something From Nothing" and tell me these guys aren't abundantly talented musicians.

In Pitchfork's 2009 review of the Foo Fighters' Greatest Hits album, critic Matthew Perpetua described the band as Generation X's answer to Tom Petty - "a consistent hit machine pumping out working-class rock." And man oh man, is that true. The Foo Fighters are a unique band, one that's straddled the line between authentic expression and commercial success for decades. What started as a post-Nirvana curiosity for Dave Grohl quickly escalated into a full fledged post-grunge success story. From there they evolved into hard-edged top-forty fun, then to folksy on-tour-with-Bob-Dylan quaintness, then to expertly crafted, anthemic, throwback rock & roll. Their music has echoes of Nirvana, Oasis, AC/DC, Black Flag, Queen, The Beatles, and plenty of other genre powerhouses. These influences aren't worn out of trite mimicry, but genuine affection. Grohl and company bow down and pay homage just enough to respect their roots, thankfully without ever overplaying their hands. They've dabbled in heavy metal, country pop, and everything in between. And their collaborations? God, they're fabulous. The Foo have written and recorded with the likes of Paul McCartney, Norah Jones, Josh Homme, John Paul Jones, Joe Walsh, Shawn Stockman, Allison Mosshart, Gary Clark Jr, Zac Brown, and even Justin frickin' Timberlake. The band takes these disparate styles and integrates them into their sound seamlessly and enthusiastically. It's a musical alchemy that borders on the miraculous. 

The band's musicianship, particularly the drums and vocals, are beyond impressive. Dave Grohl's voice, while a far cry from the musicality of Mercury or McCartney, is a grizzled goldmine, delivering catchy hooks and fiery fury in equal measure. But, as a drummer, my favorite aspect of the band is Taylor Hawkins. He's up there with Bonham and Beauford in my top ten (top five?) favorite percussionists. The Hawk is a master of unique rhythms, intricate fills, and in-the-pocket grooves. During my teen years, I spent hundreds of hours drumming along to "Learn to Fly," "Best of You," "Breakout," "Aurora," and countless other songs. Hawkins' style is imprinted on my musical DNA, and whenever I pick up a pair of sticks, there's no doubt his sound rings through.

As far as their individual albums are concerned, each one has its strengths. Their self-titled album from 1995 is a compelling debut - raw and quirky. Their sophomore effort, The Colour and The Shape, is considered to be one of the best rock records ever made, parading hit after hit with a cohesive structure linking them together. There's Nothing Left to Lose, their 3rd album, was one of the first CDs I ever bought, and is probably their catchiest effort to date. One by One, the album which defined my freshman year of high school, is vicious and vibrant. In Your Honor, their only double album, has its moments (like "Cold Day in the Sun" and "Best of You"), but is probably their weakest outing. As if in response, they released acoustic stunner Skin and Bones shortly thereafter. Next was Echoes, Silence, Patience & Grace, which is still my personal favorite, and puts up a strong argument for being the best rock album of the 00s. From there, the boys made Wasting Light, which was recorded in Grohl's garage and entirely in analog; firmly cementing their status as the torchbearers of modern rock. Sonic Highways is an ambitious album that, coupled with a miniseries on HBO, details the lustrous history of the band and their influences. Lastly, there's Concrete and Gold, which just dropped last week. It's their most sophisticated and polished album so far, with sweeping harmonies and stunning arrangements.

All that being said, I'd like you to reflect back on the guy I used to be in my teens and early twenties. I was Music Snob in Chief - so too were many of my closest friends. Therefore, thanks to my fondness for Foo, I got more crap from my pals than I care to mention. To them, Dave Grohl was a posturing tough guy hack, and his music was cliché radio drivel. I rarely talked about some new album or song or music video, because doing so would be the catalyst of unending "Brad's-taste-in-music-sucks" jokes for the rest of the day. So I mostly just stayed quiet, content to sit around with my buddies in the garage, rapturously discussing the musicality of a dusty Neil Young deep-cut or a Sufjan Stevens' B-side or some other flavor of pretentious crap.

Eventually though, it was this shared culture of narcissism, one that I giddily participated in, that jump-started my own musical evolution. It didn't take too big a mental leap to realize that my casual dismissal of pop music in general wasn't unlike my pals' nonchalant hatred of the Foo Fighters. It was then, about midway through college, that I realized other people's unqualified and unsolicited opinions didn't matter. Sure, some aspects of art are objective - it's impossible not to recognize the aesthetic merit of Abbey Road or Kind of Blue or Songs in the Key of Life - but that can only account for so much. Above all else, music is affective. It conjures up emotions, spurs action, and demands attention. It doesn't matter if it's Primus or Beyonce, music is meant to enrapture, if only for the three minutes and thirty seconds of a radio hit.

To me, that's what the music of the Foo Fighters is all about. It's equally fun and furious, managing to brighten my mood and ignite my passions at the same time. Some tunes make me sing along - others make me pump my fists. A few even manage to bring tears to my eyes. So, if any Foo Fighter out there should happen to read this, I say to you: Thanks. Not just for your music, but for helping me realize that people should be allowed to just like what they like. Who cares, right? It's a big world, and if liking the Foo Fighters or ABBA or even "Friday" by Rebecca Black is what you want to do, then go right ahead.

Own your musical skies. Learn to fly through them.

Below is a list of my twenty favorite Foo tunes. Listening to them would be a perfect introduction to the band, the music, and my personal music revolution.    

20.) The Sky is a Neighborhood  
19.) Have It All 
18.) Another Round 
17.) Long Road to Ruin  
16.) Best of You 
15.) The Pretender  
14.) Hey, Johnny Park! 
13.) Aurora 
12.) Stacked Actors 
11.) Medicine at Midnight 
10.) Skin and Bones 
9.) Rope 
8.) Virginia Moon 
7.) Come Alive 
6.) But, Honestly
5.) Everlong
4.) Cold Day in the Sun (live from Skin and Bones)
3.) A320 
2.) Outside 
1.) Congregation 

Friday, September 15, 2017

50 Fantastic Foreign Language Films

Being a fan of foreign film can be difficult. Where do you find them? Who can you discuss them with? It can certainly be a headache. But once you've found a particularly deep well (Netflix, Hulu, YouTube, wherever), bleed it dry. Foreign language flicks are fascinating - showcasing different cultures, different struggles, and different stories. Many, too, are simply essential viewing.

These are not the 50 best foreign language films - just 50 that I've seen, and think a wide, English-speaking audience might appreciate. There are plenty of amazing movies out there that are not on this list, and a few too many countries not represented here. But oh well - this list was hard enough to compile. I guess I'll save them for later. For now? Seek these out, give them a watch, and enjoy!

1920's
- The Cabinet of Dr. Caligari (1920 - Germany)
- Nosferatu: A Symphony of Horror (1922 - Germany)
- The Battleship Potemkin (1925 - Soviet Union)
- A Page of Madness (1926 - Japan)
- Metropolis (1927 - Germany)
- The Passion of Joan of Arc (1928 - France)

1930's
- M (1931 - Germany)
- The Goddess (1934 - China)
- Osaka Elegy (1936 - Japan)

1940's 
Rome Open City (1945 - Italy)
- Beauty and the Beast (1946 - France)
- Bicycle Thieves (1948 - Italy)

1950's
- Rashomon (1950 - Japan)
- Seven Samurai (1954 - Japan)
- The Red Balloon (1956 - France)
- The Seventh Seal (1957 - Sweden)

1960's
- Devi (1960 - India) 
- Eyes Without A Face (1960 - France/Italy)
Black Sabbath (1963 - Italy/France)
At Midnight I'll Take Your Soul (1964 - Brazil)
- Persona (1966 - Sweden)
- Belle de Jour (1967 - France/Italy)

1970's
- The Conformist (1970 - Italy/France)
Enter the Dragon (1973 - Hong Kong)
- Lady Snowblood (1973 - Japan)
- Operation Thunderbolt (1977 - Israel)

1980's
- Ran (1985 - Japan)
- Babette's Feast (1987 - Denmark)
- Akira (1988 - Japan)
- The Vanishing (1988 - Netherlands/France)

1990's
- Three Colors: Blue (1993 - France/Poland)
- Rumble in the Bronx (1995 - Hong Kong)
- Run Lola Run (1998 - Germany)
- Audition (1999 - Japan)

2000's
- Battle Royale (2000 - Japan)
- Oldboy (2003 - South Korea)
- Downfall (2004 - Germany/Italy)
- The Host (2006 - South Korea)
- Pan's Labyrinth (2006 - Spain/Mexico)
- Persepolis (2007 - Iran/France)
- [REC] (2007 - Spain)
- The Girl With the Dragon Tattoo (2009 - Sweden)

2010's 
- I Saw the Devil (2011 - South Korea)
- The Raid: Redemption (2011 - Indonesia)
- Big Bad Wolves (2013 - Israel)
- Hard to Get (2014 - South Africa)
- Theeb (2014 - Jordan)
- A Girl Walks Home Alone at Night (2015 - US)
- Desierto (2015 - Mexico)
- Goodnight Mommy (2015 - Germany)

Friday, September 1, 2017

10 Riveting Reads - CRIME/THRILLER

Here's the first in a new series I'm starting, called 10 Riveting Reads. I'm going to try and publish an entry whenever I can, and it'll be organized by genre. Basically, they'll just be 10 great books in a certain genre. That's it. Today's genre? Crime and thrillers. Good stuff. Read and enjoy!

American Psycho by Bret Easton Ellis: Wowzers. We're really starting out strong here, aren't we? Well, we better get to it. American Psycho is a gnarly read, full of some of the most grotesque descriptions of torture and murder I've ever read, but it's (somehow) a classic. Ellis does an excellent job fleshing out (pun intended) his protagonist - the vicious and self-obsessed Patrick Bateman. And while this is far from a "fun" read, it's imbued with a pretty scorching indictment of 80's pop culture, and the ending is simply divine. It's a sinister satire, alright. One of the best.

In the Lake of the Woods by Tim O'Brien: In the days before Gone Girl, this 1994 missing-person thriller was less of a murder mystery, and more of an intense character study. It focuses on a man whose wife disappears, and the book not only plumbs the depths of his war-addled psyche, but also gives several different firsthand accounts of what may have happened to the victim (if, indeed, she even is one). The prose is immaculate, and the concept is very intriguing. Trust me - it's well worth your time and attention.

Monster by Walter Dean Myers: I read this book for the first time in the 7th grade, and have reread it another 3 times since. Myers has a knack for writing realistic characters, and here, we watch as 16-year-old Steve Harmon stands trial for murder. And while the characterization is spectacular, the best part of this book is its inventive storytelling: bouncing back and forth between Harmon's journal entries while in prison, and also a screenplay he's writing about his experiences. This juxtaposition is fascinating, and really offers some wonderful insight into the mind of this character, and of a disenfranchised urban upbringing. Check this one out.

- Mr. Mercedes / Finders Keepers / End of Watch (the Bill Hodges trilogy) by Stephen King: Man oh man, is this a terrific trilogy. It starts wandering into some pretty wacky stuff in the third installment (End of Watch, while good, is easily my least favorite entry in the series), but this gritty crime saga follows Det. Bill Hodges on his quest to hunt down the bad guys, each one more fiendish than the last. The first is about a lunatic who mows down a crowd of people at a job fair. The second centers on a failed intellectual on a murderous prowl for lost manuscripts. And the third is...well, it just is. This is King at his quickest and most cunning, delivering a bare-bones narrative with a host of fascinating characters. All in all, this trilogy stands with It, Hearts in Atlantis, and 11/22/63 as some of King's strongest outings. Of the 3, my favorite is Finders Keepers, which really crackles, and has one of the most evocative climaxes to a King novel I've ever read.

Red Dragon by Thomas Harris: Although too many folks ignore this book in favor of its much more successful sequel (The Silence of the Lambs), and many others remember it as a decent horror-blockbuster starring Edward Norton, this original novel from 1981 is terrific. It's a book that I read over a decade ago, and can still recall specific scenes like I read them yesterday. The characters are marvelous, particularly the horrific "Tooth Fairy" killer. Clocking in at almost 500 pages, you might think this would be a chore to get through. But believe me: these are 500 of the quickest-paced pages you'll ever read. It's a great summer-on-the-beach book, with a third act twist that makes it truly fantastic. And while the sequels and adaptations are okay, this original horror-thriller is the best.

Sharp Objects by Gillian Flynn: "My sweater was new, stinging red and ugly." So begins Gillian Flynn's wicked debut novel about murdered children and self-mutilation. Like its name suggests, this is a book you should handle with care. Its prose is coiled and jagged, like razor wire, and will absolutely cut you if you're not paying close enough attention. Honestly, her other two novels are also great - Dark Places and Gone Girl are practically required reading now that Flynn's star is on the rise - but Sharp Objects might be her most impressive outing so far. Fresh, fearless, and embarrassingly addictive. Of all the books you'll find here, this is the one that is the most realistically crafted and expertly delivered. For fans of the genre, it's a must-read.

- Starr Bright Will be With You Soon by Joyce Carol Oates, writing as Rosamond Smith: Goodness gracious. Leave it to Joyce Carol Oates to pen one of the heaviest, craziest thrillers of the last thirty years. I mean, this thing is rough. She's one of our best living novelists (read Little Bird of Heaven if you don't believe me), and with this one, she makes full use of her many trademark talents: unreliable characters, unsettling social commentary, and voracious violence. It's a bit of a slow-starter, and the first twenty pages will take some settling into, but once you're in the thick of it? Don't expect to put this sucker down. This is literary fiction with a commercial bent, so be ready for big moments and even bigger ideas.

To Kill A Mockingbird by Harper Lee: I mean, honestly, I'm not even going to really write about this one. It's a classic, and should be essential reading to every human being on the planet. Yes, the film adaptation is terrific too, but you need to devote some time to chew through this literary marvel. It's definitely in my top ten all-time favorites, and it's undoubtedly one of the best books ever written. So...yeah. It's pretty darn important. Read this, then check out the movie, and then end by reading the sequel Go Set A Watchman - it's not as good as the original, but it's still mighty impressive and thematically resonant. So, in summary? READ. THIS. BOOK.