For those who are not aware, today is—besides International Weed Smoking Day and Hitler's Birthday—the 10th anniversary of the "incident" at Columbine High School. It's an odd trifecta of coinciding anniversaries and, added to the gloomy weather here, unhelpful in distilling any sort of positive vibes from the day. This particular Columbine anniversary also means that it's been ten years since I graduated high school, as I was also a senior when Eric Harris and Dylan Klebold attempted to "out-mayhem" Tim McVeigh's demolition of Oklahoma City's Murrah Federal Building. What? Did you just ask me to define "out-mayhem"? Why didn't I just call it a "school shooting" like so many people have done for the past ten years? Well, I'll leave the nuts and bolts of this to journalist Dave Cullen, whose new, exhaustively researched book, Columbine explains nearly everything you could possibly want to know about this seminal closing event of 20th century America. I say "nearly everything" because there are some things nobody will ever know about this, but Mr. Cullen seems to know all the rest.
Having come of age during a period of media-induced fear and hype over school shootings I'm sure I'm not alone in being a bit morbidly fascinated with them. Combine that with my sociology background and picking up this book was a no-brainer. I had done some minor researching into Columbine a year or so ago and it was Cullen's original stories for Slate that initially caught my attention (though I didn't make the connection when I first picked up the book) and had me thinking differently about the whole ordeal. Columbine wasn't a school shooting perpetrated by some disaffected loners; this was a botched massacre whose plan was hatched by one popular, intelligent—though psychopathic—kid with an intense hatred of mankind and his suicidally unstable friend.
The evidence for this is now overwhelming, but it wasn't easy unearthing it. Though Cullen was there from the beginning, he outlines how the county sheriff mangled the investigation and did a similarly poor job trying to cover up that fact. Many myths surrounding the shootings that are still taken as gospel are exposed to extreme scrutiny and none of them survive. The mass media—a few local papers excepted—did an incredibly poor job of separating facts from a good storyline and it was those early mistakes faulty judgment that spiraled chaotically into the school shooting narrative familiar today.
Cullen's book is valuable not only as a history of the actual event and a record of all the threads that became knotted this day ten years ago, but also as social reading of mass media and information dissemination. The narrative took on a life of its own that defied clearly contrary evidence and fed back into the ongoing tale of sterile, fearful suburbia. Utilizing the personal effects of the two killers, Cullen revealed the true nature of Eric and Dylan, the psychopath and the seeker who practically dared the folks around them to discover their heinous plot. The two who, because of the faulty profiling of the "school-shooter type", were able to plan their attack because, frankly, most people never suspected them as the loners ready to snap (one mother, whose warnings were ignored, excepted).
Columbine is one of the best non-fiction works I've read in a while and there's little doubt that Cullen poured all his energy into making it a work of art. His portraits of all the involved parties, from the parents to administrators to teachers to fellow students to law enforcement, are sympathetic and caustic in all the right proportion. And while there are clearly parties that are more at fault than others, Cullen never sinks to any immature blame games. The descriptions of psychopathy are engrossingly chilling and the pain of all the affected families and individuals bites the reader no matter how much you try and disengage. A commendable achievement in journalism and a noteworthy work of social history.
Earlier today my beloved Newcastle United suffered a 1-0 loss to Spurs that will almost surely see them prepping for life outside the Premiership. For the past few weeks I had been holding out hope that points at Stoke and Spurs would get them out of the red zone, but after picking up just one point in these two crucial games, it's almost certain the Toon are going down.
It's tough to accept such an outcome, but the reality is that the team and organization are a shambles. For too long the club have clutched delusions that they are a "big club" who should be constantly challenging for European places. Refusal to rebuild and owners more interested in milking a religiously loyal fanbase have contributed to the current situation. In fact, Premier League survival could very well be more damaging to the club on the whole than relegation.
Why have I come to this conclusion? First of all, once the emotions cooled and supporters accepted their new position, they (we) could finally embrace that Newcastle United is not the big club so many think it is. We haven't won anything in 40 years and, despite the large fanbase and high-capacity stadium, don't pull much weight or much respect with casual fans. Players with high wage bills end up at St. James' because other, smarter clubs refuse to pay for overpriced vets in the twilight of their careers. Relegation would help shed a lot of this dead weight and make room for the lot of young academy kids who deserve more first team experience.
Of course the club would lose some key performers if they went down, but really, would we miss most of them? The only people who really impressed me this year were Bassong, Gutierrez, Guthrie and Carroll. The latter three would do well to stick around, though it's unclear if they would, while Bassong would almost definitely end up at Arsenal. (As an aside, I think a central partnership of Kolo Touré and Seb Bassong could be a massive step forward for Arsenal and I'd like to see that if Newcastle do go down.) Steven Taylor had a decent season and may stick around for a season just to fight for his home side and get them back to the Prem. Relegation would be a good test to see who sticks with the side and who wants to play mercenary and ship out.
Additionally, the challenge of the League Championship is one that would provide valuable managerial experience for Alan Shearer if he does, in fact, stick around. As opposed to some of the lofty, unreachable goals that the club has set for itself, winning the Championship (or at least securing promotion) is a more than reasonable goal for the club.
As a loyal supporter of the club it most definitely stings to think about relegation. That's for dysfunctional rivals like Mackems or the Smoggies. But that's where we Toon fans find ourselves and we should keep a positive attitude about the positives that relegation could bring. The past few seasons have been a continuous series of failures and a clean slate for some true rebuilding could be the boon this club needs.
Yeah, Yeah, it's been waaaaay to long between posts here, but I've been busy and also (pat on back forthcoming) I got into the New School's creative writing program. Hooray for me! That doesn't justify the non-posting, but I was both excited and not thinking of here.
Anyway, per my usual morning routine I checked out Deadspin this morning to find this post on Hammer's "2 Legit 2 Quit" video. InGameNow put together the lineup of then-stars featured in the video to see how "legit" Hammer's picks were back in 1991. Looks like Hammer was a better judge of ability than of finances (or religious philosophies). As the proud owner of an authentic MC Hammer tshirt (that I wear as regularly as it's washed, which is often) and former youthful owner of several pairs of Zubaz brand pantaloons (apparently they still make these...frightening!), my interest was immediately piqued and my blogmuse (bluse?) beckoned.
What do we find here? Mostly Bay Area athletes and a couple random folks like "Dush" Clemens, Neon Deion and both the Dallas Cowboys and Atlanta Falcons cheerleaders. Hammer also tossed a bone to us white dudes with the Chris Mullin cameo, an awesome pick since I used to rock Mullin's Golden State #17 jersey through most of middle school (along with various flannels that I still possess).
Watch the vid and go check out the Legitness rankings at InGameNow.
In my roundup of the Converge/Genghis Tron show from last Friday I mentioned that Converge played two new tracks from their upcoming album. Turns out Metal Injection filmed the set and will be posting it in installments, which is pretty rad. Here's one of them, head over there to check out the rest of the set as they get it up (tee hee)...
Man, sometimes I can be such a pleb. Aside from the fact that my poetry is probably mediocre at best, I stopped posting my work because I was getting frustrated trying to format lines and spaces in Blogger. A few months back when this problem started to become a headache, I searched around but only found other poets' and editors' laments about the obstacles to properly formatting poetry online. Perhaps most of those complaints were old because, sure enough, today I discovered there's an html tag, [pre], that retains preformatted material. Not sure how I missed it all the times I spent looking for tags that would help me format poetry, but it definitely exists and is definitely helpful.
So as I continue to await word on whether or not I get into a master's program in the fall, I've resumed posting my better* work over at Quietly Take To The Ship.
Last night, as most nights at this Polish dance club-cum-hardcore venue, was an odd one. Six bands on a lineup that featured three who hold their own as headliners. According to the bill there were to be three bands (Ceremony, Rise & Fall, Pulling Teeth) before even Genghis Tron took to the stage. Coliseum was to follow GT and then Converge would top it all off.
A rather large cohort of us pregamed while the openers did their thing. None of us had heard of any of them (not that that means much), but we figured with limited energy to use, we'd rather spend it all on the big fellas. We got word that GT was playing at 11, so we headed over just before that. When we arrived some medicore hardcore-ish band was playing and nobody could tell us who they were (which should say something I think).
Tron set up their lights and keyboards then proceeded to rock. I went to college with these guys and even played with Hamilton (in a band called Storm the Bastille, hence the name of this blog). Though I supported these guys early on, I wasn't a huge fan of their early material and it really took me until last year's Board Up the House to enjoy their work. That album is pretty brilliant and now I'm getting more into Dead Mountain Mouth though I think their latest is a much more coherent, enjoyable listen. It's still challenging and disparate, but the elements all congeal perfectly whereas the earlier stuff was a bit jagged and awkward.
Anyway, I'm super stoked that GT have done so well for themselves and made a record that a lot of folks pegged for best of '08. They are awesome live and if anyone is on the fence about them, take a listen to Board Up the House. Oh, and they threw in a Big Black cover for good measure. I can't remember the title, though, because I'm lazy and stupid. But it was awesome.
When GT's set was done, they shocked the whole lot of us by announcing that the mighty Converge was on next. What happened to Coliseum? The shitty band we entered to, though they were using Coliseum's equipment, was emphatically not Coliseum. This was a huge letdown, as a bunch of us really wanted to see them. The last time I tried to catch them—at the old NorthSix—I got booted for immaturely bodyslamming a guy who kicked me in the back during the set. I don't really engage in pit antics, especially now, so I figured I'd last the whole bout this time. So it sucked that we missed them. The end.
Converge came on and took maybe three breaths between songs their whole set. It was one into the next which made for a pummeling, energy-filled performance. I've been lucky enough to have seen these guys for quite a few years now, but this was one of their best shows. The pit wasn't overwhelming to the point of ruinous, so that was a major plus, but they also pulled out the usual crowd faves like "The Saddest Day", "Locust Reign" (a particular favorite of mine), a couple from Jane Doe ("Concubine", "The Broken Vow"), a few from You Fail Me ("Last Light", "Eagles Become Vultures", and a bunch of new ones from No Heroes ("Heartache", "No Heroes"). I know I'm forgetting a couple at this point, but they also managed to squeeze in two brand new as-yet-untitled songs from the album they'll be recording in May. Both were fucking rippers, so there's no sign of letup from these guys. As long as Jacob refrains from singing on the upcoming record it should be all gravy.
~ ~ ~ ~ ~
It would be remiss of me to mention the origins of this blog and not post the actual song. Sure, I'm totally exposing Hamilton's pre-GT life (sorry dude), but I can also lay my claim to being GT's 4th member, as I'm 87% positive that my (lack of) drum skillz led directly to Ham's use of programmed drums. (No, I no longer play drums, as a few years ago I returned to the guitar, which I am much, much better at.) If anyone likes this Storm the Bastille (not to be confused with the PA screamo band) track, get in touch.
Hola amigos, just stoppin' in to let you know Chad, Matt & Rob have a new interactive adventure up that you should go check out. I won on the first try!
These guys are awesome. If you haven't watched any of their videos, go do that now because I know you're just procrastinating anyway.
Man, I've missed seeing Kylesa the past couple times they've come through town and now I'm feeling kinda silly about being lazy like that. In some fashion or another I seem to have missed every advance review of their latest, Static Tensions, that just came out yesterday. I knew it was coming, but I just didn't read anything about it. That's probably for the best anyhow, since my ignorance left me with no biases going into this listen. Gotta say I'm quite pleased. They still have the awesome sludge/psychedelic/hardcore thing going on, but they up the ante a bit by throwing in some more metal riffs into the mix. I've always enjoyed Kylesa's vocals; Phil's and Corey's gruff, tuneful deliveries contrast beautifully with Laura's haunting, angel-of-doom-in-a-nightmare singing. I also love that Laura just plain piledrives her own growls in there for good measure just to revel in the fact that she can sing and scream in equal measure. I could be mistaken but I think she has more parts on this new one than I remember, though I'm most likely wrong. Anyway, I really dig it.
When I first heard that they'd be opening—alongside Intronaut, whose latest, Prehistoricisms is rapidly growing on me—for Mastodon I was a bit taken aback. There's the whole heavy Georgia thing they share, but Kylesa has always been more "hardcore" in my mind than "metal" (not that they're exclusive). This album changes that for me, as it's a much more "metal"-ish release and snuggles them nicely in that ambiguous zone between labels that's often the signifier for an original, noteworthy act. Not sure why they have two drummers, still, as I couldn't notice any points where it's actually necessary (no Dale & Coady f'n around anywhere to be heard) and, thus, is superfluous. But the drumming is solid, if unspectacular and provides a foundation for the other three members to experiment a little more (perhaps this aspect is why they're still "hardcore" in my head).
Definitely worth picking up, in my opinion, and this may have pushed me back into the "yeah, I'll hit up the Mastodon show after all" camp. Well done and now I know what I'll be listening to on my way to work tomorrow.
March Madness is upon us, which also signals the time of year when many a whimsical "final four" type bracket appears to help us keep sanity at work. I wish I had know of this before, but Name of the Year is hosting its second annual "Name of the Year" Tournament. Throughout 2008 people sent in their favorite goofy (and real!!!) names as candidates for this award. Filling out one of these brackets is far, far, far more difficult than doing an NCAA bracket. It's also way funnier.
Print out brackets and get your friends together for a tournament that really matters: the Best Name of the Year.
This afternoon, in between working on some posts for Tilzy.tv, I've been taking in another listen to Mastodon's latest to see what kind of effect it has on me during non-drunken weekend hours. It's not as terrible as I originally thought, and "Divinations" (the song with the awesome video) is pretty rad, but overall this is an album of filler material.
While chatting right after the first listen, I made the comparison of Mastodon to Tool, with the caveat that Mastodon was able to squeeze in one more awesome album before releasing a steaming pile of overproduced radio bollocks. I absolutely hate everything Tool released after Ænima and although I'm enjoying Crack the Skye more than Lateralus (10,000 Days was just an abomination in my book), that isn't saying much.
As I said in my initial post a lot of the vocals on here are just too saccharine and radio-safe (though I'm typing to Scott Kelly rocking on the title track and this part I do like, until the background comes in and ruins it). One thing that's apparent is that these guys are trying new things and experimenting. While that's great and ultimately necessary, I'm wondering why nobody told them that they don't have the chops to sing, nor does the vocal style they've appropriated fit with the rest of their sound.
The most egregious examples of all my issues with this album can be found in the fourth track, "The Czar". This track is little more than consumer pabulum and makes me question a lot of the decision-making of everyone involved in its production (kinda like the film Showgirls). Every track on the album (the final track, "The Last Baron", was not on any pre-release copies, so I've yet to hear it) has at least a few parts that rip, only to be pulled back down by what is presumably an experiment gone awry, but after a decent intro "The Czar" afterward fails in almost every respect.
After Blood Mountain came out it was pretty clear that Mastodon had crossed a bridge. No longer were they going to be beasts of sludgy, hardcore-influenced prog metal, but that was fine. A maturation process occured for them as a band and, though it took me a couple listens to really get into parts of that album, I really came to love it. I don't get that vibe from this latest effort at all. With a few more listens I'll come to accept it and enjoy parts of it, but overall I'm just not happy with the results. I was expecting something different, but they took some different turns than I would have.
In an email about this to my boy Wayne over at Hooks So Big I mentioned that the vocals weren't my biggest problem, but after this listen, I think they actually are. "The Czar" sucks and all, but the title track and the opener, "Oblivion" could have been fucking killer ripping tracks that were undone by shitty vocals (Scott Kelly excluded). I concluded that email to Wayne by saying this:
I NEED THEM TO ROCK ME LIKE AN AFGHAN ADULTERER not rock me to sleep. you know what album has great clean(er/ish) vocals, great melodies and harmonies and also rocks the fuck out? Enslaved's Vertebrae. i can't stop listening to that motherfucker and it keeps getting better. that's what i was hoping from mastodon and they didn't really deliver.
So I guess these are my final thoughts on the matter for a little while. As a topic of conversation this album has certainly been on many, many people's lips, which is a good thing. Intelligent disscussion about music is always a good thing, some measure of consolation here at least. I'm still torn on whether or not I want to see this performed live, but as far as I know the shows are sold out or anything, keeping my window of opportunity open lest I decide to take the leap through.
Anyway, time to put on some Morbid Angel and get back to writing for work.
