Posts Tagged ‘media commentary’

Cope

Sunday, August 14th, 2022

I’m leaving for college Friday. All the finishing touches are being put on my departure, and the gravity is only now truly setting in. It’s overwhelming to think about sometimes. Not really terrifying, just overwhelming. Overwhelming in the way that thinking too much about something makes you feel, until you think too much some more and realize the workload is totally tolerable. It’s kind of annoying.

The Melvins have been the soundtrack to this pre-collegiate angst ever since I saw them over a month ago, and I assume they’ll still be there to help me through my post-pre-collegiate angst. Looking back, that show feels like it was the equivalent of stumbling into a church only to encounter a fire-and-brimstone preacher’s most imposing sermon and becoming a hardcore Christian on the spot out of fear and awe. To put it lightly, I’m hooked. It’s simple, really: I like things that go against things I don’t like, the list of which includes genre trappings, banality, the lack of a sense of humor, hypersensitivity, and stupidity. All of these things are incredibly overbearing, which makes it all the more satisfying to find a driving force of subversive defiance to those norms. Like the Melvins.

Looking at groups like DEVO and the Melvins feels like looking at a beacon calling forth all the boys and girls who are fed up with straight society and crave more than what it gives. Call me a moth to a flame, then—a calculated moth to a calculated flame, that is. I’m a freethinker, and I’m not into pledging blind allegiance. Following things mindlessly sets people up for failure. I say follow things that make you think. The Melvins make you think because one’s brain is constantly trying to decipher what the hell King Buzzo is singing whenever you listen to ‘em. Or sometimes I’ll find myself listening to a song (sometimes by the Melvins, sometimes by someone else) and questioning how their label let them release it in the first place or how it is even permitted to exist. Who green lights “Skin Horse”? Who? Seriously. This is no diss; I love that song. But on every listen, the perfection of its warped, tragic, alienating strain of insanity seems too good to be true. But it is true, and it’s concrete, and it feels very special to see.

Looking at the big picture, I don’t think that yesterday’s and today’s…what’s a good term…creative terrorists get the credit they deserve for their sheer bravery. Thanks to efforts like theirs, people like me get to hear things that tap into a very vital, rare, primal vein that satisfies many good, weird criteria. People are more pent up and frustrated than ever. And the things many of these people have always wanted to express but were too scared to, might just get belted into microphones by punk rock priests at sold out shows. Things like this encourage me to keep on marching. I wouldn’t be setting up for the real world with confidence without taking those influences with me.

Jump On Japoney Appoe

Wednesday, August 10th, 2022

I bought a DVD of the first season of Wonder Showzen a few months back, and I’m finally getting around to watching season two on archive.org. The show uses the schtick of a kitschy kid’s show—crude animation, puppets, smart mouthed children—to make mincemeat out of every touchy subject imaginable. The result is a show that is capable of offending everyone on earth. And sometimes that even includes me!

A few clips of it have apparently gone viral in recent times (Bush was still in office when it was originally on the air) because people just can’t tell if the show’s brutal satire is for real or not. I think there is something very powerful about something like that, something that continues to make people uncomfortable. It forces people to confront the true nature of the problems they would rather not think about, the things that even the most gung ho social commentators on all sides of the political spectrum would rather sweep under the rug. In a world where polite ignorance is more socially acceptable than actually dealing with deeply rooted problems, Wonder Showzen tackles those problems and their absurdities all at once with a shuffle and a wink at the camera. That’s what I like about it.

It’s also just really amusing seeing rando New Yorkers get egregiously pissed off at a blue hand puppet asking them stupid questions.

Some Kind Of Fifteen Minutes

Sunday, April 3rd, 2022

I just finished watching The Andy Warhol Diaries, a recent documentary series regarding the life and times of of that oh-so prescient artist. It’s a fascinating glimpse into his relationships with both the people that surrounded him and the world at large, and I’ve learned a lot from it. The series’ exploration of his life is based on his fascination with the line between the real and the fake, and it pulls back the curtain on a lot of Warhol’s persona. Yet learning of that persona’s origins has only made me more fascinated in the man, the myth, the legend he built for himself.

Warhol was obviously ahead of his time in how he allowed the media to define his identity. Today, you can hop on any popular “influencer”’s Instagram feed and see what is basically an exaggerated, warped cartoon of reality, albeit in “real life.” It’s the entire foundation of celebrity—we see a generated persona we jive with in the public sphere, we hit the follow button, and we become so invested that we’re willing to take sides when those personas clash or even crack. There was surely some clashing and cracking happening one week ago, and it surely caused the internet to descend into pure chaos.

I didn’t see the Academy Awards through last Sunday because I got bored, but I woke up the next morning to a Facebook feed flooded with memes about the slap. They were initially lighthearted and reveling in the absurdity of it all, but as time went on, I began to notice a shift incredibly reflective of today’s digitally powered social realm: people started to take it seriously. Too seriously. Sides were taken and stood for. I saw vows be made to never discuss hot topic debates on social media ever again after the resulting comment chains got out of hand. One of my most favorite Facebook pages, Blistering takes from every coordinate of the ascended political hyperspace, which is dedicated to the most insane ranting of the internet’s most deranged individuals, made this very ominous post:

The Slap discourse has changed me. Deleting page soon. Go save your faves.

Not even the satire pages could take it. (As of now, the page is still active.)

The airwaves are less clogged now that the hype has died down and we’ve remembered that things like the early days of World War III and the Supreme Court exist. The Grammys are on, and I wonder if some event there will cause a similar tidal wave of absurd discourse over the ‘net. That might happen; it might not. But people will still be talking about it nonetheless.

Warhol would’ve had a field day.

Indeterminate Reconstruction

Friday, March 4th, 2022

I mentioned in my previous full length log how strange it is to have to watch historical events unfold from a screen while your own life marches on as usual. It’s hard to say anything about Russia’s war on Ukraine that I feel hasn’t been said before, even though it’s only been a few weeks. Don’t the headlines speak for themselves? Each one is another reminder that most humans don’t know how to view others as human. The Russian government pushes absurd propaganda while its people cry for a ceasefire, and the West seems obsessed with intervention that would only make the violence worse. It’s frustrating to see.

But the problem with worrying about things that you aren’t able to directly affect is that it traps you in your head. Allowing the world to whomp you into submission in that way keeps you from doing the things that do matter when they come along. So, in the meantime, I’ve been trying to keep a spring in my step.

Music in particular always helps me keep on my toes. Get the right combination of rocket riffs, vocal squelches, pounding metronome, and low-low-end and you’ve got one happy Sophia. Currently on repeat is a spinoff group of spaced-out surf rockers Man Or Astro-Man?, Servotron. I was blown away to find a CD of theirs in the wild last weekend (thanks, AY&P) and it only reminded me of how much they satisfy my ears. Servotron were four humanoid robots who used hyper-charged twanged-out synth punk to espouse their philosophy that humankind should be exterminated due to its “inefficiency.” It’s hilarious. It’s also dangerously catchy. And all this talk about AI picture generators and “the Metaverse,” the furthered blurring of the lines between man and machine, only validates me listening to them, I guess.

Absurd lyrics about making humans huff carbon dioxide aside, they’ve got a point about the human condition. Humans are extremely fickle and confusing creatures; I know from just being one. That side of mankind has been on full display in the news recently. For example, some people have been “protesting” Russia’s cruelty by emptying out bottles of vodka they don’t realize isn’t actually Russian. I would assume it took a lot of time and effort to make the contents of those bottles, but I guess it doesn’t matter if you associate that product with dirty commies. They were probably munching on some “freedom fries” as they did so. That’s what America called French fries—which are Belgian—after France disapproved of America’s invasion of Iraq back in the 2000s. It’s funny that we were talking about the similar “liberty cabbage” phenomenon of the World War I era in history class just a few weeks ago. We’ve gone back to calling it sauerkraut, but we still haven’t learned from it. What’s next? Another Red Scare?

But neither a robot uprising or nuclear bombs are going to keep humans from human-ing. Mass destruction, discrimination, and loss of life seem like very inefficient things to indulge in. Maybe, with enough work and cooperation from us carbon based lifeforms, we can up our efficiency game by being better to each other. We can only learn from our mistakes if we try. Let’s start by taking away all the arbitrary barriers that separate us—silly things like nationality and ethnicity. Maybe then we won’t invade other countries for personal gain because those barriers will have lost their socially constructed meanings. Remember: we’re all in this together.

https://www.youtube.com/watch?v=9kQ-lMJxwnk

Neuron Power Outage To Armageddon

Thursday, August 5th, 2021

In Ken Russell’s Altered States, protagonist Dr. Edward Jessup’s psychedelic exploration of his psyche culminates into his physical mutation into a self-sufficient, antimatteral being of the most innately alive of the organs: flesh. His appearance in this form may be warped and inhuman at a glance, but his embrace of the hairless flesh most commonly associated with homo sapiens makes his transformed state a distinctly humanoid one. Was he not conducting his experiments for a deeper understanding of human consciousness in the first place? His research ultimately draws a dark conclusion: that mankind is an innately selfish race. In his superhuman form he reaches the peak of individualism—he needs no support to exist, and no one is capable of doing so unless they, too, want to give up Earth’s realities and join him in his subconscious realm, a realm dangerously leaking into the real world. He transcends his humanity by embracing what makes him most human. Jessup would have let this physical representation of his ego take over, too, if he hadn’t kept enough self awareness to save his wife from the same forces. Empathy to the rescue.

Of course, self exploration, whether done hallucinogenicly or sober, is not inherently bad. In many situations, it can catalyze positive internal change that can be reflected onto the surrounding world. But one must be wary that one’s retreats into the self do not manifest degenerative delusion.

Sadly, it seems that our current generation is not being taught values similar to those that ultimately saved Jessup. He still kept a grip on reality even when his curious mind sucked him into the monkey man microscope screen warp speed world of his subconscious. Today’s world, on the other hand, offers no escape from the epilepsy inducing acid flashback that is pop culture. Deeply rooted traditions of primal self satisfaction—earlier in the film, Jessup regresses to an apelike state before embarking on a rampage, a friendly reminder of how we, too, are nothing more than animals—are not changed, but encouraged. From birth, we are bombarded by unregulated flashing images, exaggerated facial expressions and cartoon realities, infinite streams of worthless matter lurking behind clickbait headlines. Political pundits and their battles become increasingly caricatured, turning nightly news into WWE. Nothing really matters, except for the hyperactive manchild’s exploitation of the child’s feeble mind. As long as you think the junk food you’re guzzling tastes good (or you don’t mind the side effects), alles ist gut.

Maybe we are all still children in some respects, still trying to process information and make sense of the insanity swirling around us. Most, however, question not what they see, staying on whatever the “correct” track is as dictated by meaningless societal trends or whatever makes them feel more self righteous. And considering the bust bum brainwash world we live in, where facts are opinions and lies reap in the profit, the consequences of such complacency are too often detrimental to those with their heads in the right space.

Absurdity reigns, so what should we do about it? Embrace it. One does not silence another by cowering and covering their ears. Much like how sustainable forms of energy begrudgingly coexist with fossil fuels, not all noise is pollution. Use it to your advantage. Submit your social commentary under the covers; weave double entendres into your speeches; force the world to grab that dinged-up shovel and start digging, because there’s a lot left to uncover, and it might just be worth your time.

Going Wild For Jihad Jerry

Monday, July 12th, 2021

I made a spur-of-the-moment post a few weeks ago upon the release of DEVO bassist Jerry Casale‘s new single, “I’m Gonna Pay U Back.” The song’s music video came out on the 8th, and upon watching it, I think I got a taste of the “positive brainwashing” I’ve been longing for recently. For the rest of that day, I was as excitable and positively charged as ever, coinciding with a period of creative stimulation in my own regard. Three days later, the wave of excitement, relief, and emotion that drenched my mind has (for the most part) subsided, allowing me to write about the matter at hand with more precision.

The music video coincides with the widespread reissue of Jerry’s 2006 solo album as the venerable “Jihad Jerry,” who wears turbans that match his suit coats and declares that “[his] is not a holy war.” The album itself supplies hard-hitting blues rock injected with an indie-electro twist, and Jerry is flanked by two soulful female backup singers to help him spit his de-evolutionary bars. Three DEVO rarities and a Yardbirds song receive updates for the twenty-first century.

Me discovering the album due to my exploration of the DEVO discography was cathartic. Jerry’s declaration of a “war against stupidity” instead of one against drugs or any specific religion was a refreshing statement for an angry, skeptical girl in a prejudiced, complacent world to hear. The project was satirically bent and just plain baffling at times, just like DEVO’s tactics of confusion and absurdity that made their medicinal messaging go down so tightly. It was bold and funny and refreshingly weird, and it spoke to me unlike much else had. (I touched on this here, too.)

With CD copies being scarce, I always hoped it would receive the reissue it deserved someday, though I did not entirely expect that to happen. I figured it would be too easy for a naive public to decontextualize Jerry’s tomfoolery and try to rip him a new hole for his alter ego, and part of me wondered if the project would get buried in the sands of time in the name of “playing it safe.” Cue the album getting reissued after all, with Jihad placed front and center, burning with passion and pride in woodblock effigy, on the album cover. Go figure.

It’s the perfect time to reissue it, too: nostalgia holds a fifteen year cycle, and fashion magazines seem to be plugging “Y2K” trends as the hottest thing a lot recently, though the low rise jeans and flip phones they promote seem more “mid-ohs excess” than “late 1990s techno fear.” Even I’m not completely immune: I ordered a brand new iPod for my birthday, as I still haven’t jumped the shark from MP3 collecting to streaming. (And now I can listen to remastered Jihad Jerry on it.) It seems like everyone is looking back on that dark and trashy time, trying to find refuge from an increasingly dire present. But is mindless indulgence and glamorization the best way to deal with thousands of faceless humans dying on the other side of the planet? Jihad Jerry asked this question back then, and now he asks it again.

In his new music video, Jerry confronts his alter ego in acknowledgement of his past and the mutinous multitudes he contains. It’s a daring example of self-expression, and Jerry is still bold and unapologetic in his seventies, despite various societal aggressions that the role of the elderly is to gripe about the youth from their high rocking chairs. (Not that he doesn’t look a good twenty years younger than he actually is without the video’s sci-fi Prisma filter.) He remains a spirited misfit and provocateur just as he was back in the day. But times have changed since then, and the future is even more uncertain than it was fifteen years ago. That also explains his urgency, his willingness to be so forward. Best to let yourself be heard while you still have the ability to speak.