Saturday, April 29, 2017
Posting this not because it's a fantastic interview or anything, but a new(ish) appearance of an interview with Madlib in that type of setting is worth celebrating and paying attention to. The interview technically isn't even anything special, mainly because Madlib is such a notoriously quiet character. But for me, as a huge Madlib fan, his elusive nature and bizarre personality---buried as it is within a thick turtle shell whose surface is decorated with jewels and whose cavernous depths echo exotic clanky music---is fascinating in and of itself. It's amusing watching Madlib here squirm away from straightforward answers, or use humor and sarcasm as subterfuge.
More importantly, Otis Jackson Jr. aka Madlib is widely considered (by those who know who he is) to be one of the great musical geniuses of our time. When he speaks (whether in a rare interview or through music), you listen. A multi-instrumentalist who transcends mediums and genres, his trippy crate-digging mixes of Brazilian jazz or African rock or other miscellaneous gems are just as interesting as his one-man band jazz releases or his legendary beat tapes. He's always been one of my favorite artists to write about and a constant presence in my daily playlists. I'm thrilled to see the mind of Madlib open up here even just a little bit to share his wisdom. Plus, above all else, the common thread of intrigue about his sound is his style, and the man's unique style certainly comes across in this interview. So do check it out.
After that, you can listen to this Madlib mix of Brazilian records from the crates, entitled Speto Da Rua.
(If you dig that, then also check out his newer mix, Mind Fusion: African Ear Wax.)
Lately, I've been immersed in the instrumentals he produced for Strong Arm Steady's 2010 album In Search of Stoney Jackson. I could listen to this for days:
And, lastly, one can't talk about Madlib without lamenting the absurdly long wait for the new Madvillain album with Doom. Here's Madlib's remix of a track from another long-awaited collabo, Doom and Ghostface:
Tuesday, April 25, 2017
Monday, April 3, 2017
In the aftermath of the Cubs winning the World Series in 2016, it feels weird we're even still having baseball. It feels way too soon for a new baseball season to begin. We still need more time to recover and contemplate that Game 7. The fucking Cubs won the World Series! We're in a post-Cubs-shattering-their-108-year-drought period now, a whole new cosmic epoch. Oh, and in other news we've got a new president, the first one in more than 100 years to decline to throw out the season's first pitch.
So here we are, a new season begins already. I don't quite feel ready for it and actually feel less enthused about baseball than I have in forever. This explains why last year I read a dozen baseball books and this year I've barely read one. It's why after writing up a set of predictions for all 30 baseball teams before opening day in each of the last seven years, I've neglected to do so until now, with games already underway.
Other factors contributing to my relative unpreparedness for baseball season: I bought a house, have been renovating it for a month, and am packing to move next week. It's been one of the busiest and most stressful periods of my life. So during any slivers of free time I've had lately I've tried to engage in marathon writing, both to maintain sanity and assure continued writing progress in this chaotic time.
So here, as quickly as I can prepare them, are my predictions for each MLB division and team. (Presented in the usual format of choosing Over/Under for the team's 2017 win projection from Baseball Prospectus' PECOTA as of March 31, 2017.)
Friday, March 31, 2017
|(Credit: Getty Images)|
It was the best of times, it was the worst of times.
Amid the backdrop of a crumbling country, the NBA has been experiencing a new golden age.
And while the league reaches new heights, its storied New York Knicks franchise achieves ever deepening levels of rock bottom.
The frantic artistry and entertainment of last year's seven-game NBA Finals between the Warriors and Cavaliers sparked a surge in my basketball interest. When the 2016-17 season began, I was latched on to my favorite team, the increasingly frustrating and weird New York Knicks, keeping up with basketball mostly through them while they showed plenty of early promise. They were 14-10 at one point, creating the early illusion of a shot at playoff contention. During that first month of the season, when family members asked what they could get me for Christmas I figured some new Knicks gear might be a good idea.
Sunday, February 19, 2017
|Poster by Mondo.|
One day last year, I sat down and wracked my brain to come up with a ranking of my favorite films of all time. After much deliberation, I determined my top film ever is Children of Men, the dystopic masterpiece from director Alfonso Cuarón, released on Christmas Day 2005.
I can remember seeing it for the first time. I was in San Diego visiting my brother and his wife. We all went to see it together. When it was over, I felt stuck to the chair, unable to move. The emotional impact of the film felt like a spear had impaled me, pierced my chest and nailed me to the theater seat in wide-eyed shock. It was an experience I'll never forget.
Despite the premise being a distant future---the year 2027 in which humans have lost the ability to reproduce leading to anarchy and rampant terrorism all around the world---everything about the film felt relevant to the current moment. I can remember being viscerally stunned at the force of the filmmaker's message, it felt like a desperate plea, trying to re-awaken our sense of humanity through art. Now, a little more than 10 years later, this sci-fi dystopian display of theatrical imagination feels more realistic than ever, loaded with xenophobic nationalistic politics conveyed through news media, ever present armored police militants, and extreme anti-immigrant, anti-refugee policies leading to frequent terrorist attacks.
Lately Children of Men, which was a box office flop when first released, has been gaining more and more attention due to its sudden allegorical relevance in our alarming contemporary situation. Abraham Reisman of Vulture recently summoned director Alfonso Cuarón to discuss the film as framed in the context of Brexit, the Trumpacolypse, etc, leading to an in-depth feature piece entitled "Future Shock" positing that Children of Men "might be the most relevant film of 2016."
In the feature, Cuarón describes the conception and execution of the film's most famous cinematic feats, its long uncut shots with the masterful cinematographer, Emmanuel Lubezski. I enjoyed this bit about working with him:
And Cuarón expresses his view of our current wayward moment in history:He recruited his longtime friend and frequent partner Emmanuel “Chivo” Lubezki to be his cinematographer. Together, they hit on the idea of loading up the background with information — graffiti, placards, newscasts — and thus limiting the kind of expository dialogue that often plagues dystopian stories. Cuarón recalls Lubezki declaring, “We cannot allow one single frame of this film to go without a comment on the state of things."
The gap between our world and that of Children of Men is closing rapidly, but he refuses to give up his faith in our wayward species. There are dark days ahead, to be sure, but perhaps they will also be days of transformation. “Look, I’m absolutely pessimistic about the present,” Cuarón says. “But I’m very optimistic about the future.”
Following the feature, Vulture also published an expanded interview with Cuarón where they go into more detailed depth on the making of the film, what he felt it was really about ("it was more about spiritual infertility"), and the filmmaker's enduring hope for the future.
On the same note, YouTube film analyst Nerdwriter created this fantastic, enlightening glimpse of the symbology within the film's loaded frames, "Do Not Ignore the Background":
To the excellent observation that the shot of pregnant Kee in the barn echoes the posture of Botticelli's Venus, I want to add that the scene is also literally overflowing with symbols. Kee, the key symbol of the film, the future of the human race in the form of a young pregnant mother from Africa, stands surrounded by cattle, symbols of fertility from time immemorial, with their mother's milk being extracted. Fertility, fecundity, pregnancy are the story's most important symbols. Note the year is 2027, and it's been 18 years since the last child birth. 27 and 18 are both divisible by 9, the number of gestation. I could go on forever about this movie.
Here's hoping we as humanity get through our current bleakness and continue to produce beautiful art like Children of Men.