Tuesday, April 6, 2021

2011 and 2012 in Review: The Years' Top Ten Albums

the best music of 2012, period

It was kind of tough to figure out how to write a new entry in my "20xx in Review" blog feature when, ya know, it's April, and there's nothing "year-end" to review. But I am committed to this week's bit, and I am going to put something together if it kills me.
 
Something that has always bothered me is that I have years of Top Ten Albums of the Year lists on here, but there's never been a Top Ten for 2011 or 2012. For one, I wasn't blogging that much at the time. For two, I wasn't listening to all that much new music (if I recall correctly, I spend half of 2012 listening to my entire iPod in alphabetical order by song title).

But as a completionist, I'd like to have those lists on the blog, please and thank you. So that's what I'm going to do today. I did officially pick a #1 album of 2011 and 2012 at the end of each respective year, and those #1s didn't change here (only 2011's was even at risk of changing, and even then, not really), but other album rankings have been influenced by present opinions. Also, you might find that some of these albums end up in a different order than they were placed in our End of Decade coverage, but you're gonna just have to chalk that up to the unassailable truth that music tastes change year-to-year, month-to-month, and day-to-day.

I am also tossing around the idea of writing some of these blurbs as if I was actually writing them in 2011 and 2012, but I don't think that's an idea I can stretch over this entire list. Just to warn you, in case it doesn't seem to make any sense when I write something like "God I loved listening to this album after graduating from college last week" or whatever.

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2011 Honorable Mentions

20. The People's Key by Bright Eyes
19. Cloud Nothings by Cloud Nothings
18. Joyce Manor by Joyce Manor
17. Sound Kapital by Handsome Furs
16. I Am Very Far by Okkervil River
15. Belong by the Pains of Being Pure at Heart
14. Nine Types of Light by TV on the Radio
13. Go Tell Fire to the Mountain by WU LYF
12. Dye It Blonde by the Smith Westerns
11. Hysterical by Clap Your Hands Say Yeah
 
Top Ten Albums of 2011
 
10. Kaputt by Destroyer
 
I got into this album at my shitty job—no, not the retirement home, the other one, the "day job," the one where I sit in a cubicle for seven hours a day and review medical supply paperwork, and the other chick who got this menial job as a family favor is in my cubicle too, and we're grabbing lunch because the rest of the office is composed of 50-year-old-plus ladies who definitely don't listen to Destroyer. I don't need to write about the actual music on the album because you had a shitty job in 2011 too and read about it and listened to it just as much as I did.

9. Helplessness Blues by Fleet Foxes
 
I don't know if Fleet Foxes will ever top their self-titled debut—I know, I know, you have your whole life to make your first album and then like eighteen months to make your follow up, so we should be praising Helplessness Blues here. It's worthy of praise. The smoky backwoods folk is still here but it's got a little more heft to it. You can easily connect the dots between this one and the almost-too-much Crack-Up, even though that line also encompasses six years and a whole college education for Robin Pecknold.
 
8. Knife Man by AJJ
 
2021 Joe here, telling you that Knife Man wouldn't have been on this list if it was created in 2011, and not just because 2011 Joe didn't listen to it. I just know that my musical/emotional maturity wasn't quite there yet that I could appreciate Knife Man as a work of ironic art instead of a bible. Had it turned into the latter, I'd be colder and snarkier and more sarcastic than I already am. I don't think AJJ is necessarily good for your health. I needed that distance. It grew to the appropriate size by 2015.
 
7. David Comes to Life by Fucked Up
 
Downloaded this album on poor Pam's laptop after I graduated this year and pissed all over my own laptop in a sleepy sober stupor. Pam, who deleted this album after one listen, will always be my Queen of Hearts. When we met: "HELLO MY NAME IS JOSEPH, YOUR NAME IS PAMELA. LET'S BE TOGETHER. LET'S FALL IN LOVE." I also had a beard like Damian Abraham. (If you want my honest opinion, Glass Boys is probably better, but 2011 Joe isn't supposed to know that yet!!!)
 
6. Strange Mercy by St. Vincent
 
You can only be weird once, and then every time you're weird after that, it becomes more and more normalized, until eventually you're trying to be weird in new and different ways, but it's not the same as the old weird; the old weird is never coming back, so you might as well kiss it on the lips and wish it well on its voyage down the nostalgia hole.
 
5. Bon Iver, Bon Iver by Bon Iver
 
That whole thing with the cabin is apocryphal to me—I dunno, I wasn't around for it. I entered here, right around the time that the mystery man was winning Best New Artist and being lampooned by some fucking heel on SNL. I think there's a reason that Bon Iver reached his cultural zenith after his double-self-titled sophomore album, and not the wispy debut—it's simply his best.
 
4. Father, Son, Holy Ghost by Girls
 
I liked Girls' old-school California dream-psychedelia debut (Album), but there's no way it, or anything, could've prepared me for the whirlwind of the follow-up. Grand and towering and yet still precious. It's the sound of a band giving everything they had, till there was nothing left. Literally—this is the last Girls album. Burn out / don't fade away.
 
3. Torches by Foster the People
 
I think there's a temptation to say that there is nothing but hooks on Torches, like, for real, nothing, just hooks and window dressing and hot air, and shit man maybe that's true, but I'm driving around in '91 Camry and bopping along to the same song all the young kids at work are singing and it sounds pretty fucking okay to me, even if it's just hooks. I'm thinking maybe in ten years I'm still gonna be bopping along to it, but what the fuck do I know, I'm just some dumb kid in his dumb car and I like a dumb hook and I don't know anything about my future.
 
2. Smoke Rings for My Halo by Kurt Vile
 
This year, I graduated college, and six months later, I still have no fucking clue what I want to do with my life. I have a roof over my head because my parents let me stay here. I have a great partner in life because Pam is generous enough to share her life with me. But in terms of, like, the future, who I want to be, I have no fucking clue yet. I basically just spent the whole summer sleeping in till 2 PM and lying in bed and listening to Kurt Vile, whose slack bro meditations seemed to hit the spot, for better or worse.
 
1. The King Is Dead by the Decemberists
 
The "king" could be a lot of things. Could be college. Could be my youth. Could be the Decemberists' recent sound, which had gradually gotten pretty proggish and convoluted (but still fucking badass), and so if that's dead, then now they are gonna scale it back and do a back-to-basics and back-to-the-farm album. Whatever—long live the King.


 
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2012 Honorable Mentions

20. Handwritten by the Gaslight Anthem
19. Mirage Rock by Band of Horses
18. good kid, m.A.A.d city by Kendrick Lamar
17. Be the Void by Dr. Dog
16. Wrecking Ball by Bruce Springsteen
15. Of All the Things I Will Soon Grow Tired by Joyce Manor
14. R.A.P. Music by Killer Mike
13. Open Your Heart by the Men
12. Blunderbuss by Jack White
11. Twenty-Five for the Rest of Our Lives by the Henry Clay People
 
Top Ten Albums of 2012
 
10. A Thing Called Divine Fits by Divine Fits
 
Gotta love the casual toss off right there in the title—oh this is just a thing we did, no big deal. Where I come from, everything that Dan Boeckner does is a big deal. I've been waiting nine years for a follow-up to this indie rock underrated masterpiece, and writing a whole lot of stupid bullshit around it in the meantime.
 
9. Bend Beyond by Woods
 
2012 was spent in constant transition—the final days of the best job of my life and the worst job of my life that I managed to work one after the other every day for like 100 days in a row; a big move to Las Vegas, putting my feet up, and then a big move back home; stumbling into another great job at Zipcar during what will eventually become known as that company's golden years. Each time period has its own soundtrack. Here I am at the end of the year, driving Zipcars to promotional set-ups on college campuses, blasting Woods, feeling the changing of the seasons—literally, metaphorically—once again.
 
8. Port of Morrow by the Shins
 
When you leave Vegas driving West, it's endless highway, populated by yet still more casinos. You reach what you think is the edge of the earth and then again you come across another monolithic tribute to capitalism and financial instability. You keep driving but you're seeing the same thing, just in different shades of brown and red. Same with the Shins—they keep going farther and farther away from the sounds that J.D. from Scrubs made infamous, and yet I'm still hearing the same goddamn thing. And I love it. The music, not the casinos.
 
7. The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do by Fiona Apple
 
Kinda weird to think back to 2012 and realize what a child I was. If I had had any opportunity to listen to Fiona Apple back then, I would've been too intimidated. It's like how even if you think you're the big man on campus, you can walk into a strip club and your whole demeanor changes, the ego implodes, you're nothing but a little puppy around these dominant, half-naked, powerful women. I mean, this is a lady who is threatening me with whipping cords! I can't handle it!
 
6. Some Nights by fun.
 
Such a weird feeling when a band you thought was your own little secret is all of a sudden a part of the public consciousness. Even weirder when the popularity is such an ill fit that they pretty much cease to exist. Even weirder when the ostensible main attraction duets with P!nk and then just completely goes away, and the guy behind the curtain flourishes into maybe the most popular producer in pop music currently? Pretty weird year. Some nights are weird, though.
 
5. On the Impossible Past by the Menzingers
 
What I now describe as "toxic nostalgia" was, at the time, pretty much just pining for the days that had barely even ended at that point. Me and the Menzingers, we've always shared this tragic flaw. 2012 Joe and 2012 'Zingers were both still living pretty high and free, and neither of us could see it at the time.
 
4. King Tuff by King Tuff
 
Jeez, this is a suffocatingly masculine list, isn't it? Throw another straight white indie male onto the pile. Better make it some badass garage rock just in case anyone is actually still reading. I feel like I've mentioned King Tuff too many times on the blog in the past few years, as if it is some revolutionary piece of work. It's not. I mean, not really, unless you consider a simple and simply wonderful piece of modern garage rock to be revolutionary. Sometimes an album doesn't need to be life-changing for it to be great.
 
3. Attack on Memory by Cloud Nothings
 
A coworker convinced me that I should try the album again, even though it sounded nothing like its predecessor—this one was tough and mean and scratchy and it was not really something I was necessarily comfortable with at the age of 23. It's like an old pair of jeans that you squeeze into by zipping up the crotch with a pair of pliers—a little painful, but they stretch out eventually, and goddamn did they look good on you.
 
2. Local Business by Titus Andronicus
 
I took Regional Rail to the Broad Street Line to the Navy Yard shuttle, all to get blood drawn for a job, and I can't even remember which one. This was on the day Local Business was released. I was up pretty early anyway. Listened to it all day, all night, and the next day. That second night, I got fucking loaded and tried to tell Patrick Stickles what I really thought. If I could go back, I'd say: The Monitor will be my favorite album of all time for at least the next decade, but Local Business was the perfect follow-up—compact, streamlined, a breath of fresh air. Maybe then me and Patrick would've become best friends. You never know where the other path might've taken you, ya know?
 
1. Celebration Rock by Japandroids
 
Spending so much time in the 2011/2012 mindset has been a bit distressing, so, luckily, the best album of the group, as well as one of the best albums of all time, Celebration Rock, is timeless. I think about this album now the exact same way I did when I first heard it on the two-mile walk to my job in Vegas through the dry heat. Japandroids play life-affirming rock 'n' roll, and I'll listen to this shit until the day I die (which seems a lot closer in 2021 than it did in 2012, mind you).
 

Monday, April 5, 2021

Beerbelly Thoughts: Clench and Push

If the hypothetical Q is would you rather be constipated versus would you rather have violent diarrhea, then I don't really think it's that tough of a choice to consider. You're talking to someone who has been constipated more or less the entirety of 2021 so far (as it turns out, carbs were probably essential to healthy bowel movement in my personal digestive system). I know firsthand that constipation is nothing to laugh at. And I think it's more mental than physical; i.e., you can feel everything getting backed up, packing together tighter and tighter, and you become sincerely afraid that one day some internal organ is going to act like a balloon and pop, leaving you comatose or dead. At least with diarrhea, you can see that everything is entering and exiting like it's supposed to. The manner in which it exits might not be ideal, but at least everything eventually ends up in the bowl. It's not just sitting there, ya feel me? No, this is an easy choice, and anyone who chooses differently has never guzzled Metamucil while praying to the gods of bowels for a sign of life, veins popping on the forehead all the while.

Never Seen It, #43 of 200: Dances with Wolves

A week of ongoing PoYB features brought back from the dead, but let's not forget about Never Seen It, currently the only non-music feature still ongoing, here in the Year of Our Puke 2021. In this feature, we're moving slowly and methodically through an arbitrary list of movies I had never seen before, and discussing each. Enjoy this and all the other nonsense throughout the week, dear reader.


Dances with Wolves
1990

Such a film could be intimidating. Three solid hours. Looks to be a serious subject matter. Such a lock for Best Picture that (according to Stephan) The Silence of the Lambs was content to delay its own opening so it didn't have to compete at the same Oscars. One of those serious producer-director-lead-actor combo roles for its main auteur.

The best part about Dances with Wolves, then, is that it ended up being not all that intimidating at all. I found this film to be smart but supremely honest. It was long, but it made every correct decision it needed to to maintain my interests and my attention. The story was laser-focused, but against the backdrop of the grand majesty of wide-open nature. It both taught you all about a way of life you know nothing about, and told you about basic human truths that you've always known.

This is what makes a great film, isn't it? I love when a movie immediately captures you and then manages to keep you invested in its world for as long as possible. I had no idea what Dances with Wolves was actually about (I had visions of Kevin Costner literally dancing with a wolf), but had you told me that it was about a Civil War general who becomes assimilated into the Sioux Nation, I would've immediately passed. Just doesn't sound interesting to me. But, yo, it was so interesting.

I think it managed to stay interesting throughout because Dances with Wolves handled a number of key storytelling decisions in exactly the correct fashion. These are decisions that other, lesser movies would've made differently, which makes Dances with Wolves an unmitigated success and other movies... well, not. And because I'm so used to films being less-than, I assumed at certain points that Dances with Wolves was gonna fuck it up. And it never did!
 
I can pinpoint a few examples, and we can go from specific to general. One is the casting of Mary McDonnell as a member of the Sioux Nation. Mary McDonnell is white, and it was definitely a "wait a minute" moment when she first showed up on screen. I'm not going to lie, I assumed the worst of this 30-year-old film (being especially sensitive to racial miscasting after Breakfast at Tiffany's practically imploded over the issue). Nope! There was a backstory! She's meant to play a white character! Whew!

There was also the beginning of the final act, when John Dunbar (that's Costner) rushes back to his old campsite, only to be captured by the army and held until the Sioux could come rescue him. My assumption was that this would lead to some misunderstanding and manufactured conflict, i.e. that the Sioux tribe members would think that Dunbar had betrayed them and gone back to the army, and Dunbar would have to prove himself loyal in some way. Nope! The Sioux leaders immediately knew that Dunbar was in trouble, and went off to help their friend and ally! Dances with Wolves was smart enough to know where the main source of conflict was, and didn't need any other bullshit cluttering it up.

In general, I'd say that the best decision that this film made was to make the two sides of the central "conflict"—namely, John Dunbar and the Sioux, most prominently Kicking Bird, but also Wind in His Hair and Smiles a Lot—good, honest, and sincere people. The only initial conflict between the two was born out of what each respective side had assumed about the other. But Dunbar and Kicking Bird could see almost immediately that each had found a good heart in their counterpart.

I'm trying to picture what a Dances with Wolves without this key element would look like. Perhaps Dunbar—who narrates the film via his field journaling—could come off as more suspicious, maybe holding onto his cruel assumptions about the Sioux for any length of time. Thankfully, he is instead thoughtful and considerate and respectful and sincerely interested in their way of life. And the realization that the Sioux are kinder and more compassionate than many or most white men from the communities he came from is a realization only possible because of Dunbar's qualities. Likewise on the other side—one might assume when you first meet Wind in His Hair that he is a warrior savage, lusting for blood or whatever. But then note how he comes across when discussing matters around the tribal campfire—passionate and loud, but respectful of elders and of others' opinions, and with everyone's best interests in mind. 

I guess what I'm trying to say is that I assumed that Dances with Wolves would be three hours of these two sides growing to trust each other, with plenty of obstacles in the way, before everyone ultimately came to an understanding. There was a little bit of that, but really, the trust came almost immediately. After that, a large chunk of the movie is content to sit back and observe what else each can learn from the other—not "how to get along," because that was already there, but more like, this is how we dress, this is how we fight, and so on. It was fascinating! And all that shit could only happen because the film dared to make all the main characters good and decent human beings.

Of course, there hangs over everything the threat of the "white man" coming to invade and destroy this way of life, and sure enough, they do eventually come. But this is a secondary conflict, if only because we are so goddamn familiar with that story already. Human beings—in this case and in many cases, specifically white Americans—are cruel, violent, unempathetic, everything that we fear the "others" to be in the tragic, never-ending act of projection. There is an epilogue in this movie regarding the fate of the Sioux, and you don't need me to spoil it here to know what happens.

I am thankful, then, that we get to spend the vast majority of Dances with Wolves with the good ones, with Dunbar and Kicking Bird and all the rest, as they share victories, intertwine their lives, and grow to appreciate each other. There is value in a film focusing on the good, even if we all know that the bad is right there, waiting, just off stage.

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Some of the Other Stuff We Usually Talk About in This Column, Shuffled Together

The main attraction here is Kevin Costner, so let's start there. Obviously, it's pretty impressive to star in a film that you are also directing, especially when both the acting and the directing are as good as they are here. Like, one of John Dunbar's characteristics is that he is introspective. One, that's not an easy trait to portray on screen, and he does it with aplomb; two, that's not an easy role to come out of in between shots, but he was able to do so and slip into a necessarily extroverted director's role as needed. Impressive.
 
We've seen a dual-performance in this column before, with Braveheart, which was directed by and starring Mel Gibson. All respect to Braveheart, which was a mighty fine movie, but it doesn't approach Dances with Wolves. Braveheart is all bravado, whereas Dances with Wolves managers to find nuance. One is a lot harder than the other.

I wasn't too familiar with any of the other actors in the film, who all did a fantastic job, honestly. It has to be especially challenging to evoke such intense empathy while speaking a foreign language, but everyone portraying a Sioux character did that and then some. I'm trying to see if I've seen anyone in anything before though? Let's see...

Mary McDonnell apparently played the First Lady in Independence Day, and had a small role in the TV series Fargo (I do not remember her in either); we'll see her again in Donnie Darko. Graham Greene (Kicking Bird)—I wish I knew him from other stuff, because he was so good here, but it doesn't look like I've ever seen him act before; he'll be in The Green Mile. Rodney A. Grant (Wind in His Hair)—nothing that I even recognize, unfortunately. Also unfortunate that so many of these actors' credits include generic-sounding Native American names. It's gotta be tough being stuck in stereotypical roles based on your heritage, no?

I dunno, I don't see too many other actors that I could even hope to recognize or see again (though I will point out that apparently one of the U.S. Army generals was named Sergeant Pepper? I wonder if that was intentional). I dunno. What else should we talk about? How about IMDB Trivia? Haven't done that in a while.

BEST: "During the scene where the buffalo is charging at Smiles a Lot, the buffalo is actually charging at a pile of its favorite treat: Oreo cookies." Something about the phrasing of this piece of trivia makes it more amusing to me than it would be otherwise. If it said "trainers used Oreos to get the buffaloes to charge" or something, it wouldn't be in the "BEST" section.

WORST: "Lt. John Dunbar carries two guns in the film—a Henry 1860 rifle made specially by Uberti, and a Colt 1851 Navy cap-and-ball revolver." Fuck guns, give me more Oreo trivia.

ALMOST CASTED (WHO THE FUCK CARES): "Viggo Mortensen was originally cast to play John Dunbar." Who the fuck cares?!?

Actually, there's another piece to that last one—"Mortensen will, however, be playing John Dunbar in the sequel to this movie, The Holy Road." Sequel?! Yes, apparently this is a thing! Maybe. Okay, so Dances with Wolves is based on a book with the same name, written by author Michael Blake. Blake wrote it with the intention of it being adapted, and sure enough, when it was picked up, he wrote the screenplay too.

That book was published in 1988. In 2001, he published The Holy Road, a sequel in book form. Again, this was with the intention of getting it adapted into a movie. The plot, by the way, sounds pretty fucking terrible. It takes place eleven years after the events of the first story, and involves one of Dunbar's children being kidnapped...?

Who knows, maybe it would end up being a better film than it sounds. The only thing is that Kevin Costner wants nothing to do with it. Costner has traditionally refused to have anything to do with any sequel for any movie he has ever been in, and that includes Dances with Wolves. Hence the claim that Mortensen (a.k.a. Aragorn) would be taking over the role. A cursory web search reveals no details, however, including cast list or release date. And The Holy Road was written twenty years ago now. Michael Blake died in 2015. I think we can safely put the idea of a Dances with Wolves sequel to bed at this point.

I guess you can't blame anyone for wanting to milk the golden Oscar calf a little more. Blake won Best Adapted Screenplay, and no one was telling him he couldn't do it again. Maybe some of the actors might want another shot at an Oscar—Kicking Bird and Stands with a Fist both lost their respective Supporting Role Oscars (to Pesci in Goodfellas and Whoopi in Ghost, the latter which we can talk about when Ghost comes around on the Never Seen It list).

Dances with Wolves ended up going 7 for 12, with Picture, Director, Screenplay, and some of the lesser ones (Sound, Editing, etc.). Notably, it beat Home Alone for Best Original Score... but don't worry, Home Alone exacted its revenge when it beat Dances with Wolves at the NICKELODEON KIDS' CHOICE AWARDS!!!!!!!!!!

I think that's about all I usually do. Maybe embed a song from the soundtrack or something?


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Cultural Appropriation

Can we talk about this for a second before wrapping up? It's a little bit unrelated, but are you even still reading at this point anyway? Okay, so Pam and I have been watching Drag Race, and as of this writing, Utica Queen has been eliminated. But a couple weeks ago, she was a part of the challenge where the girls had to "embody their teammate's essence" or whatever. Each pair had to do each other's makeup and costuming in their own style, and that queen had to "act" like their partner.

Anyway, Utica was paired up with Symone. Utica is white, and Simone is black. When Symone tried coming up with some ideas for what Utica could wear to "embody the essence of Symone," Utica tried claiming that she was "uncomfortable" with doing anything, because it would constitute "appropriation."

I guess you can't really blame Utica for attempting to come at this issue with good intentions (though whether it was actually good intentions and not some bipolar bullshit from this fat-shaming asshole is a subject that would take us much too far away from Dances with Wolves even for the digressive Puke on Your Birthday) but the fact of the matter is that she was not correct in her usage of the term. (RuPaul did eventually correct her.)

Definition for cultural appropriation: "refers to the use of objects or elements of a non-dominant culture in a way that doesn't respect their original meaning, give credit to their source, or reinforces stereotypes or contributes to oppression." I think the key word in this definition is "respect." If Utica is trying to "embody the essence of Symone," then wearing Symone's clothes and Symone's makeup and walking down the runway like Symone would be the exact way you would respect that. It comes out of love, not of derision or ugly humor.

It took me a bit of reflection to understand why Utica's stupid ignorance burned me so much. I think it's because she is—purposefully or accidentally—feeding into conservatives' intolerance of the so-called "cancel culture" when she says bullshit like that. "What, we can't even dress up like our friends now?!" a MAGAt might be heard to say. And they would be right (he says with clenched teeth)—it is stupid to say you can't dress up like your friends at all. No one who has one fucking inkling what cultural appropriation actually is would say such a stupid thing. But Utica is a moron, so her misunderstanding can be really detrimental to those who are actually trying to be respectful of others (instead of just throwing buzzwords around like a fake bitch).

I don't even remember where I was going with this originally... maybe I'm creating a strawman argument, that anyone who says that Kevin Costner is culturally appropriating from Native Americans in this movie is wrong (even though I have no idea if anyone has ever actually made that argument)? I mean, Costner was made an honorary member of the Sioux Nations after this movie came out, by actual tribe members, so I think we can safely assume that the movie and the motivations and the costuming and all of it was coming from a deep sense of respect and compassion. Just please don't let Utica Queen watch Dances with Wolves. Please.

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GRADE: 4.5 pukes out of 5

NEXT TIME: We're gonna watch The Deer Hunter, which is a war movie I believe, and which I'm just thinking now was involved in a subplot in another war movie—Jarhead, maybe—in which a soldier's wife tapes over a copy of The Deer Hunter with a video of her cheating on him at home? Anyways, that's the only other thing I know about The Deer Hunter.

Don't Tell Me What I Can't Do, Parts XII-XXII: The Wrap-Up

Welcome back, finally, to "Don't Tell Me What I Can't Do," at one time an ongoing feature here at Puke on Your Birthday. There was once a blog post in 2009 that listed 22 subjects that PoYB would "never write about," and this series was supposed to act as a 22-part sequel to that post. I planned on writing a blog post about each of the 22 so-called "forbidden" subjects that 2009 Joe had listed (for whatever reason). As it turns out, sometimes there is a reason why I listed something as a subject I would never write about—namely, that I didn't want to fucking write about it. And so, the DTMWICD series became a form of torture for me. Writing about shit I don't want to write about was not fun (who knew?).

But there's one thing I hate more than writing dumb pointless blog posts, and that's an incomplete project. So today, in honor of this week's "A Bug, Not a Feature" PoYB Spectacular, I am bringing back Don't Tell Me What I Can't Do for a very special conclusion. Instead of closing my eyes and picking just one of the remaining eleven subjects, I'm just going to cover all eleven, and finally put this bullshit to bed. As I often say on this blog: feel free to skip this one, because it might not be pretty.

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TODAY'S "FORBIDDEN" SUBJECT: "The Top Five Lifetime Original Movies"

Five Questions, April 2021

Joe answers five questions that he wondered aloud to himself throughout the month.


Why are so many kids allergic to peanuts?

I guess I'm starting with question because I am now the cliché parent worried about his kid being exposed to peanuts accidentally and having to shove an EpiPen into her if/when that happens, and I should probably have a better understanding about why this happens, for her sake as much as mine. According to various sources, more and more kids are diagnosed with peanut allergies because we, as a society, are giving their immune systems less and less to do. Which is a good thing! Much preferable to deal with an allergy than, like, rubella or something. But still, the immune system is just looking for something to do, and so it sees a protein that isn't really found in much else besides peanuts and tree nuts, and it overreacts. 20% of kids grow out of it, and since I have always pictured myself as a dad who made peanut butter and jelly sandwiches for the kids before school, I'm hoping we get lucky.

Does aluminum foil really block certain wave frequencies, and if so, why??

I always think about one time when a boss at Zipcar had to transport a box of E-ZPasses across state lines, and so he wrapped the box in foil so they wouldn't all be charged at the toll booth at the same time. I had always assumed up until then that it was just crazy people being crazy by wrapping their heads in aluminum foil to "keep the government out of their brains" or whatever. But no! It's legit (the properties of foil, I mean, not the government conspiracies)! It's called a Faraday cage. I don't know if I am committed enough to trying to understand how it actually works, but suffice it to say that certain materials block certain electrical charges, and aluminum foil happens to be one of those materials. (Ugh, I guess that means I'm technically not answering part of the question—just read the goddamn Wikipedia page if you're really want to know!)

Did Disney have to pay for the rights to use Hasbro toys in Toy Story, or does copyright (or whatever) not work that way???

In a perfect world, you could use whatever property you wanted to create art (and eventually, you can, when a property enters "public domain" after a certain amount of time, but that's a different subject). But I was curious to the particulars of how this kind of thing works. The short answer is yes, Disney paid Hasbro originally for the rights to include Mr. Potato Head, et al, in the Toy Story films. In addition, Hasbro had rights to approve all parts of the movie where its toys appeared (I guess to ensure that Mr. Potato Head wasn't pulling a dildo out of his ass pouch or whatever). The longer answer probably involves a bunch of business stuff that I don't really understand—royalties, percentages, and so on. Googling around now, it seems like Hasbro has benefited greatly from their partnership with Disney—not so much Potato Head (though sales for that toy did go up like 90% in 1995 after the movie), but more so all the Star Wars and Marvel toys that Hasbro is now exclusively making. Everyone's cashing in on that shit. Yay?

Can you really crack open the odometer and change the mileage like Ferris Bueller suggests Cameron should do????

I'm only asking this because we're currently in the process of buying a minivan *dodges tomatoes thrown from a frustrated audience* and obviously we're buying it used, so the current mileage is a concern. And I'm wondering what exactly would tell you the mileage besides the odometer, and why you can't just remove the glass and roll back the odometer a few hundred-thousand miles to boost the value. So the answer to my question is yes, it's possible. For older cars especially, you could really just pull the whole odometer out and replace it with another odometer with fewer miles listed. As to what's stopping someone from doing that, there are two answers. The first is that it's a federal crime, which, sure, wouldn't stop the dishonest mechanics and Ferris Buellers of the world, but it might dissuade others from attempting it. Secondly, there are certain telltale signs of tampering that a keen-eyed inspector might be able to use to detect tomfoolery. Loose screws, scratch marks, title documents, and so on, plus newer cars store odometer data in other parts of the vehicle besides the odometer as a way to back up the data and ensure it isn't changed. In any case, I don't think it's something I have to worry about when purchasing a 2016 Dodge Grand Caravan.

Is there a surefire way to know which side of the city block is going to have the even numbers, and which side the odd numbers?????

As someone who drives down unfamiliar Philadelphia streets every single Sunday morning looking for specific addresses, I would love to know if there is a hard and fast rule for this. In the absence of someone specifically stating that Philadelphia has a definitive rule that is followed, I'm going to have to first find a generic answer online, and then I'm going to have to go on Google Maps and test out that answer on a selection of Philadelphia blocks. 
 
Okay: this person on Quora states that houses on the north side or west side of the street are even, and the south side and east side are odd; he also states that diagonals are to be treated as N-S or E-W depending on what they are closer to.

There aren't really many streets in Philly that are exactly North-South or exactly East-West—the main grid is at a slight angle—but we can assume that many are close enough and would thus act like a true N-S / E-W street regardless. I am randomly looking at the 2000 block of N. 17th Street, which is North-South. The west side is evenly numbered, and the east side is oddly numbered. Does that match up with our answer? Yes! 1 for 1. Let's keep going.

Okay, on the same section of the map, the cross street is the 1600 block of Fontain Street. E-W, and the houses to the north are odd, while the south are even. This does NOT match up with the answer that the Quora guy gave, but not all hope is lost. Maybe Philly is even on the south and west, and odd on north and east? Let's try an intersection of blocks in a completely different neighborhood. 

Here's the 300 block of W. Spencer Street. It moves approximately east-west. North are odd, south are even. Around the corner, the 6000 block of N. American Street moves north-south; the even numbers are on the west side, the odd numbers on the east side.

I think it's safe to say we have a simple rule! Houses on the north and east sides are odd, and houses on the south and west sides are even. This should also mean that all streets that move SE-NW should have the same rule, right? Because on those streets, the houses are on the northeast side or the southwest side, and the rule is the same regardless. Let's try to find a street in Philly facing that direction and see if it follows the rule. How about the 5900 block of Kemble Avenue? Yup, odd for NE side and even for SW side. 7000 Greene Street? Yup. My old neighborhood, 2600 E. Allegheny Avenue? Yup.

But what about the streets that go NE-SW? That means there is a NW side of the block and a SE side of the block, and the rule gets jumbled. I'm going to have to pick out a few random streets that move in this direction and see what's what.

Around the corner from that last one, we have 3100 Almond Street. Even on the NW side and odd on the SE side. This would seem to indicate that the east/west side takes precedence over the north/south side of the rule. Let's test it out twice more in different neighborhoods. 1300 E. Passyunk Avenue? Yes, it's even on NW and odd on SE. 5600 Belmar Street? NO!! Ugh. Maybe Southwest Philly is just weird? 6900 Souder Street is NW-even and SE-odd. Same with 6700 Wyncote Avenue.

And this isn't even considering streets that change direction. How is that decided? Maybe the total average is considered? Like if a street curves like a parenthesis, maybe that's still "north-south" on average? Does such a street exist in Philly? I dunno, maybe Lincoln Drive? There aren't many homes on this curvy street, but there are some near where it intersects with W. Hortter Street. To the west of Lincoln? Even. To the east of Hortter? Also even.

Maybe I'm complicating this more than I have to. There is a rule, and there are exceptions. South is even, and west is even, both together are even, except when it's not, and west takes precedence, except when it doesn't. Easy, right? It'll be especially easy when I'm driving in circles around Philadelphia, trying to remember which direction I'm facing, and figuring out whether to look right or left, right?!?!

The Night That We... (reracked)

There are many nights that made Joe the man that he is today. Some were amazing. Some were awful. Most were at a weird spot in between. All of them were unforgettable. In this column, we explore those nights.
 
Part XXXV
The Beer Pong Night
October 2, 2008
 
There's an x/y graph, with the x-axis being age, and the y-axis being how much one enjoys a game of beer pong, and that bitch looks like an upside-down parabola, honestly.
 
There is nothing more thrilling than a riotous game of beer pong when you are just starting to dabble in underage drinking. After a time, though, you start to realize that drinking in and of itself is the real thrill, and the need to "play games" while you drink is almost besides the point. Beer pong, thus, gradually goes out of fashion. You might hear a 25-year-old say something like: "That's lame." Fair enough.

But then you start getting older still, and maybe you start missing those halcyon beer pong days. Maybe you settle down, and the wild nights are yearly counted on one single hand. Maybe you have 387 nights in a row being awoken by an infant who doesn't seem to want to sleep and you start to figure maybe these 3 AM sojourns could be better spent elsewhere. My point being that, yeah, beer pong starts looking pretty great after a while. Who the fuck is worried about being lame anymore? I'd fucking kill for an opportunity to shoot a ping pong ball into a red solo cup right now.

So maybe that's why I am telling this story with rose-colored glasses, this sordid tale about a party ruined by beer pong. No matter how miserable I was after this epic beer pong streak in the autumn of 2008, I would do some pretty disgusting shit to get together with my friends under similar circumstances and play beer pong right now. I may be telling a tale at the nadir of the parabola, but the tale is told from a very large y-value (and not too shabby of an x-value, as I made decent headway into my early 30s).

I can only set the scene from details I remember, and I don't often do a good job remembering details from such nights as this, but whatever: it was a night at Brianna R.'s. 
 
(Sidenote: I've decided I'm going to use first names in this blog post, even though it's been years since I've spoken to some of the key players. If you are reading this, and you feel like your first name betrays your identity too clearly, then let me know and I will initialize it posthaste.)

If you are part of "The Usual Crowd," as we eventually deemed the easiest nomenclature for our tight-knit group of NEast Philly denizen pals, then you know what a night at Brianna's entailed, typically. Her parents were spending a night down the shore at their Cape May Villas home (the home that we'd invade once a year during Warped Shore—sorry, different story for a different blog post), and we would post up in their rowhome in East Oak Lane, and kill however many number of cases we had deemed "enough" on any given Friday or Saturday night.

So this wasn't different, per se, than any other of the countless nights we had spent drinking at Brianna's. I guess the only difference is that we were scattered around local colleges in the area, and were doing our respective partying at our own colleges, typically, throughout the semester, so a night at Brianna's during the semester felt like a big deal. It wasn't just "another night" anymore. We were trekking to her house from our dorms. Put it another way: in high school, drinking at Bri's with your best friends was the only drinking option you had, whereas drinking at Bri's with your best friends was a conscious decision against all the other drinking options one might be presented with at college.

None of this context is necessary to the story, the more I think about it. Suffice it to say: we're headed to Brianna R.'s. Her boyfriend Mike is coming in from UPenn, and the other Quaker (Cindy) is hitching a ride. Kev is maybe plodding through MCCC classes or maybe already thinking about careers (and still two years from living at La Salle), so obviously he's there. Meanwhile, Mary (also of MCCC, from what I recall) is headed over to La Salle in her compact vehicle, offering a ride to whoever wants one. The distance from St. Basil Dorm to Chelten Ave. is a raccoon's fart, so a bunch of us pile in, sitting on laps and crouching in trunks—me, my girlfriend Bethany, roommate Sean, Sean's former roommate A.K.A. Hobbes, and Mandy (pre- or post-Beatles tattoo, I forget).

This is a motley crew, even more motley than hangs at Bri's usually are (like: okay, Bri had this thing where whoever partied at her house would have to stick their outspread hand into a container of paint and place their handprint onto her bedroom wall, and there was a record number of prints going up on the wall that night). And if I'm forgetting anybody, then I'm sorry. No, wait—there are a few photos I can check out on Google Photos for evidence. Looks like Big Ed and Andrew R. were there too. I'm pretty sure I see a silhouette of Marielle, though who knows (Scranton is pretty far from Olney).

You know what? Maybe Kev wasn't there. Because here's the crux of this story: me and Mike paired up for beer pong, and there are only two reasons why I wouldn't have been paired up with Kev in another iteration of Team Green: 1) Kev and Andrew paired up because they were spending a ton of time together in late 2008 roaming the streets of Fox Chase, and so Kev decided to keep that pair going throughout the night's drinking game of choice, or 2) Kev wasn't there. I refuse to text Kev and ask him about this (I already text him about too many random-ass nostalgia memories that bubble up on any given random weekday morning at the office), so let's assume the latter and move on.

Okay, me and Mike start playing beer pong with whoever wants to face us. I sure as shit don't remember the first game or the first opponents. I do know that it was suicidally decided that we were playing ten-cup beer pong tonight, as opposed to the usual six cups. I do not remember whether we were playing with actual beer in the cups or chugging after a water cup is hit, but that's kind of moot—ten cups means 66.6% more drinking. (Photo evidence suggests that beer was going in the cups, which means that the water cups for washing the balls were working extra hard that night, since Brianna had cats.)

I should also probably note at this point that my partner, Mike S., erstwhile PoYB editor, then-future law school student, refers to beer pong as "Beirut" because he is an Ivy League frat boy FUCK. This isn't relevant. None of this is relevant, really; I'm just reveling in the memories, and I'm writing unnecessary paragraphs. Sorry. Back to the story.

We start smiting opponents. From what I recall, it was a healthy mix of nail-biters and blowouts, and a healthy mix of random pairings of opponents. And, of course, it featured the requisite measure of cracks about certain members of the team "carrying" the other member, exclamations about elbows over tables, arguments about proper reracks, and so on. This continued for some time.

It continued for a long time, if we're being honest. What started as a routine start-of-the-night activity eventually turned into the night in toto. It's like 12 AM and me and Mike are still going strong, trying to scrape together opponents (which was getting more difficult by the hour, since at this point our host is so drunk that she falls asleep in the shower, and at least two partygoers, having met tonight for the first night, are now in the darkness of the basement performing who knows what hanky panky). And we keep winning.

Okay, another sidenote: there's a reason that we kept playing beer pong throughout the course of the night, as opposed to, say, walking away from the table with a 11-0 record or something. At age nineteen, I had not yet forsaken the bucket list that I had foolhardily compiled in high school, and note one of the items on that list: "45. Go 20 games of beer pong in a row." I know it's tough to look toward the future when you're still a teenager, but I was certainly clairvoyant enough to know at that time that there wouldn't be many opportunities in the future to complete this specific task. It was now or never, I surmised.

Should've chosen never. By Game 18, everyone was fucking miserable when they step to the table. I'm drunk as FUCK, Mike is splitting time between throwing pong balls and making sure his girlfriend doesn't drown in the shower, everyone else is trying to enjoy hanging out together without being harassed by two beer pong assholes in the living room. But this is important to me, for some fucking reason, and Mike—who was probably pretty fucking loaded too, though he'd never admit it—appreciated the importance too.

I should also reiterate at this point that my girlfriend Bethany was indeed at this party, and had probably lost a couple games already. I only bring this up to point out the fact that I brought my girlfriend to a party, hosted by someone she didn't know, at a house she had never been to, and had then proceeded to mostly ignore her for a very large majority of said party, instead choosing to rack red solo cups over and over. Call it a Reverse Lloyd Dobler. In other words, my victories at the beer pong table were inversely correlated to my victories in my relationship. I was not a good boyfriend (in general, but also specifically tonight).

And so I reiterate this point because we have now reached Game 20. It is now past two in the morning. People are starting to mark spaces where they plan on laying their sleeping bags. Our beer stock is reaching a perilously low level, but has somehow survived the night. I'm far closer to blackout than any person who has plodded through nineteen games of beer pong in a row has any right to be. And our opponent for Game 20 is decided to be Bethany, with Mary as her teammate.

I remember fighting a lot with Bethany when we were dating and drunk. I'm typing this and laughing, because I'm 32 years old and this was thirteen years ago and we were dumb fucking teenagers—i.e. this isn't me being mopey or anything. I'm just saying we used to get angry at each other a lot. I'm just setting the scene here. I remember one time, maybe weeks before this beer pong fiasco, hanging out in the townhouses with Bethany, and we're absolutely screaming at each other in the courtyard, and that at a certain point realizing that neither of us could even fucking remember what we were even fighting about in the first place, we were so drunk. We can laugh about it now (and indeed, probably did the last time I saw her, at a wedding, though I was pretty drunk then too and don't really remember what specifically we reminisced about), but at the time, it was fucking miserable.

We were both competitive too. All four of us were pretty competitive, as far as I remember (and, we should probably note here that Mary most likely had an ax to grind at this point in the night, since I had no doubt busted her balls relentlessly about an incident that had occurred in that previous spring, one that involved drunken romance, one that she was in the vortex of, one which I won't elaborate on here, and but one that I was just learning the finer details of that autumn, and found pretty hilarious, and I'm sure Mary found pretty not hilarious, at the time).

Like I said—I was pretty fucking loaded at this point, so there are only like three things I remember about that Game 20. One was that it was an insanely close match. Like, tighter than 99% of all the beer pong games I've ever participated in. There were bounces, blocked shot, ricochets, rimshots, arguments performed at top volume, and so on. It was down to one-cup-to-one-cup at least, maybe even overtime. Two was that no one was having fun. We were all ultra-competitive; it wasn't about fun anymore. To me, it was all about striking an item off my bucket list, finally. To our opponents, no doubt it was about fucking up Joe K***'s night after he fucked up theirs, having imploded any idea of having a fun and wacky night by forcing everyone to play beer pong for six hours straight.

Three was something that I remember vividly think about at the time, and sincerely meaning it, however fucked up it sounds now: "If Bethany beats me in this game, I am going to break up with her." I wasn't joking around. Had she sunk the final cup on our end of the table, the I would've said that we're through, and walked away.

Which is SO fucked up. In that kind of fucked up way that years later is fucking hilarious to consider, but still—fucked up. But true. I was taking this VERY seriously. Beer pong, of all goddamn things. For a bucket list that could only have been important to me for a couple of years tops. I was willing to do anything, including change my Facebook Relationship Status, to make it happen.

This isn't even the point of this essay, but it's important to consider, this truth about myself, that I sometimes have fucked up priorities. It was easy to forgo any chance of meaningful friendship or romance on this particular night when I had the opportunity to win twenty games of beer pong in a row.

Well, me and Mike won Game 20, and that was mercifully the end of beer pong for the night. No high fives were exchanged—everyone was too exhausted and anguished from the ordeal. The romantic discord continued, as it is wont to do when everyone has more than a dozen beers in them. Brianna would bear witness to Drunk Joe getting so angry at his girlfriend that he throws a lighter against a mirror in the dining room, almost smashing it (thankful for a bunch of things in this regard, including the fact that property destruction during drunk relationship strife was a teenage-only thing, the fact that Brianna and my other best friends from growing up have stuck by me despite the fact that I am was an asshole for a lot of it, and the fact that a lot of my friends made dumb, drunk, and now-silly-seeming decisions that night so that throwing a lighter is only like mid-tier in the context of this particular evening).

So yeah, maybe not the best night for anybody. And yet, I still keep coming back to this night, out of all the countless fucking nights we got loaded at Brianna's, as one of the most memorable. That has everything to do with the beer pong marathon.

Beer pong was a game that we had to have known at the time was getting to be a little too juvenile, and yet, we were still hanging onto it as one of the last bastions of our youth. By playing 20 games in a row, it's possible that I was hanging onto it a little too tightly. The grip strangled the party.

Despite the fiasco this particular night turned into because of beer pong, I have no regrets regarding beer pong in general. A few months ago, I holed up in the Poconos with a few college friends for a full weekend of alcohol and friendship and Titanic. At 11 AM on Saturday morning, we found ourselves on the back patio, divided on opposite ends of a rectangular table, red solo cups arranged in the familiar triangular pattern. I immediately felt at ease. Throwing a pong ball into a cup and hearing that double-plink of plastic and water, I felt like I had finally found myself, after a long time searching.

So while October 2, 2008 was an absolutely miserable night for plenty of reasons, I still look back fondly on it. I mean, I was hanging out with my best friends on a random Thursday night getting loaded, which is something that will never happen again for the rest of my life. It was a night that, despite its many downsides, was instantly memorable (and those downsides look funnier and funnier as the years go on).

But October 2, 2008 was important because of beer pong. It highlights this dumb little drinking game (and beer pong is dumb, the more you think about it), a game that became a through line for many of the otherwise disparate drinking nights I had in my youth. Family basements, sweaty frat houses, random backyards, we went to parties in so many different places, and the one guarantee—besides the joys of getting drunk—was that beer pong would probably be played.
 
You have something to hold onto to during nostalgia trips in between Excel spreadsheets at the office. Remember that random party we went to in Cheltenham with Kev's friends? Yeah, I do, because it almost came to fisticuffs over a beer pong loss. Remember that rager in Cindy's backyard? Yeah, definitely, because I went 0-6 that night on the beer pong table. Remember hanging out at Andrew H.'s shore house? Yeah, but only because we played beer pong in the garage and it was the first time I drank all summer.

Do I remember that one random night at Brianna's house? Though there were many, of fucking course I do. I went 20-0 at beer pong at the expense of actually have a fun time.

Nah, fuck it, I had fun. Always did with these friends, with this beer, at this house. And since we're getting to the age when we start getting all misty-eyed about something so pedestrian as a drinking game, I will no doubt find myself, some years in the future, around that ol' familiar table, facing off against my hometown buddies, shooting a ping pong ball into a red solo cup, playing beer pong once again.

WPPR, Episode 8: Getting Ready for Summer


It's gonna be a good week here on Puke on Your Birthday. Let's start with the blog feature that actually requires me to do shit besides type words. WPPR, Pirate Puke Radio, is back for a very special episode. We'll get it out of the way first, and give you something to listen to while you're reading all the other bullshit on the blog for the next few days. Enjoy!


Tracklist:

1. "Constructive Summer" by the Hold Steady
2. "Summer Babe (Winter Version)" by Pavement
3. "Wildwood" by Steve Gunn
4. "Summer Love" by Carly Rae Jepson
5. "Revelatory" by Caracara
6. "Summer Days" by Langhorne Slim  
7. "Summer Money" by Teenage Halloween
8. "Steal My Sunshine" by Len
9. "You're So Last Summer" by Taking Back Sunday
10. "Sunshine Rock" by Bob Mould
11. "The Boys of Summer" by Don Henley
12. "Hang Me Up to Dry" by Cold War Kids
13. "Dancing in the Street" by Martha and the Vandellas
14. "Fat Lip" by Sum 41
15. "Summer Friends" by Hospital Bracelet
16. "Sloop John B" by the Beach Boys
17. "4th of July, Asbury Park (Sandy)" by Bruce Springsteen
18. "Walking the Dog" by fun.
19. "Summer of '69" by Bryan Adams
20. "It's All Gonna Break" by Broken Social Scene
21. "Hit and Run" by King Tuff

A Bug, Not a Feature


I've never been particularly good at encapsulating an entire idea, back to front, in a single blog post. I'm just not good at it. I've always preferred to take a broad idea and write within the confines of that idea over and over and over. Instead of "here's a dumb idea for a blog post," it's almost always been "here's a dumb idea for one hundred blog posts." If I wanted to psychoanalyze, I could maybe state that I use the act of "world-building" as a crutch for shitty writing. E.g. it's tough to write an album review, but it gets easier the more you write, and the more you can reference back to the album reviews that you already wrote.

In short, Puke on Your Birthday is absolutely littered with ongoing features that have started and stopped and restarted and stalled over the years. Lists of movies, slogging through iPods, discourse about being drunk, explorations of the "new," Degrassi reviews, all of this shit cluttering your internet webpages for the past decade-plus. And barely any of these projects are "complete." I'm lazy, I get bored, and like, really, is blogging really all that important? Sometimes yes, sometimes no.

This week is a "sometimes yes" week. For the next four days (until Record Club brings us home on Friday morning), I will be writing a new entry for EVERY SINGLE FEATURE that Puke on Your Birthday has ever published. I counted around 25 columns, and they'll all get a new blog post this week, with one about every four hours or so. Some are still ongoing to this day—like Never Seen It, for better or worse—and some have only recently been in disuse—The Albums That Matter seems a lot less essential now that I'm not doing a blog a day—and some have been exhumed after like ten years—well, you'll just have to stick around and find out.

I know not many people are going to care about this—really, blogging is NOT that important—but I worked hard at creating as many worthy blog posts as I could this week, and I hope you enjoy it. And if it's a failure (like Review Week), then at least next week I can just not post anything Monday through Thursday and read a book instead or something.

Sunday, April 4, 2021

Album of the Week: Howlin Mercy

Here's the part where I overexplain things. There's going to be a lot of blogging going on this week, mainly a lot of stupid shit that I can't imagine 95% of Record Club members are going to know or care about. But regardless, it felt weird to ask someone to pick an album and then get completely buried under a bunch of other bullshit going on around Puke on Your Birthday. But I also felt weird picking an album myself, since I just did that last week, and I'd like to think that this is our club, not my club. So the solution, whether it works out well or not, is that this week's album is completely random. As in, I went to a website that tells you a random album, and had the hands of fate and chance pick the album for us. (Pam was present and can confirm that I did not cheat.) So for the first time in Record Club history, it's possible that not a single person has ever heard of this artist or this album, and every single one of us is going into this with zero expectations.

I mean, we'll see how it pans out. If chance has dealt us a completely shitty record, then you can always check out the archives or the playlist, or you can stick around this week and see what else Puke has in store. Otherwise, let's see how it goes.

WEEK 114 — April 4-10, 2021

What we're listening to this week (theshfl.com's pick):


ALBUM: Howlin Mercy
ARTIST: John Campbell

RELEASED: June 15, 1993

WHAT GENRE IS THIS: Heavy blues rock

WHY THESHFL.COM PICKED IT: I had Pam go on her phone, visit this website, and click "shfl." We discounted any albums that did not adhere to the Record Club rules (e.g. no live albums and no 80-minute-plus albums), so that meant the first two suggestions were forfeited. Finally landed on this album. I personally have never heard of John Campbell, and am pretty interested in finding out if what we've randomly stumbled over is going to be of any worth.

TRACKLIST:
  1. Ain't Afraid of Midnight
  2. When the Levee Breaks
  3. Down in the Hole
  4. Look What Love Can Do
  5. Saddle Up My Pony
  6. Firin' Line
  7. Love's Name
  8. Written in Stone
  9. Wiseblood
  10. Wolf Among the Lambs
LENGTH: 55:10

WHERE TO LISTEN FOR FREE: YouTube

READING SOME SHIT: Not much online about this guy—doesn't help that he has a very generic name. A few bios here and there, like this, or this. (Looks like this album was released right before he passed away.) Otherwise, I think we're just gonna have to find out for ourselves.

Happy listening, fam! Have a great week!

Saturday, April 3, 2021

A Year of Blind Spots: Songs in the Key of Life


A couple weeks ago we were chilling on the patio with my parents and of course I had the iPod shuffling some recent playlist. "Round and Round" by the 1980s band Ratt popped up. "Why do you have Ratt on your iPod?" my dad asked incredulously. I guess he wasn't into hair metal in his youth. But that got me thinking about how goddamn lucky I am to live in a world where music genre boundaries are breaking down, and "genre loyalty" is a term that has basically ceased to exist. I can enjoy a song because it's a good song, regardless of whether it was ever "cool" to like it (and let's be clear: liking "Round and Round" by Ratt is not cool, especially since that Geico commercial, but it's a good ass song!).

I don't know if Stevie Wonder has ever been cool, but I am of a generation that listens to good music whether it is cool or not, and so I started to listen to Songs in the Key of Life this week. The parameters of what I consider "good music" have been considerably widened.

It's all connected, right? "Pastime Paradise" blew my mind—I had no idea that Coolio's "Gangsta's Paradise" heavily sampled a Wonder song. "Black Man" was unsubtle, and yet maybe we still need this subject to be unsubtle, here in 2021 (it also made me thing that Jamila Woods was inspired by this song for a lot of the interstitials on HEAVN). And of course, "Sir Duke," an easy pick for the Top 20 Songs of All Time list, great music about how great music can be. Brought me back to when my high school pep band would rock this song. It's all connected!

A couple weeks after the Ratt thing—so last weekend—I had Songs in the Key of Life going when my parents were over (all four of us are vaccinated, who the fuck else should I be hanging out with?), and my dad claimed that he was "getting into Stevie Wonder recently." No fucking chance that he was listening to this album in 1976. See, the walls are coming down for everyone. A good song is a good song. Songs in the Key of Life has some great songs.

This is one of those albums that is so critically acclaimed and beloved by so many people that I feel like writing a sub-500-word blog post on it (with 25% of those words talking about a completely different band) is doing the album a disservice. All I can say at the end here is that it's a fantastic album, probably the best I've listened to for this column so far, and I look forward to exploring it further in the weeks ahead.




Friday, April 2, 2021

Duke Nukem, Sunny


Duke Nukem, a 30 year retrospective:

1990: In October, the fifth episode of Captain Planet airs, introducing key villain Duke Nukem. Duke Nukem, through being literally radioactive, is able to capture and waterboard Captain Planet until the children and monkey save him. Nukem will be remembered both due to his villainy as well as his appearance in memes some 25 years later.

Meanwhile, John Carmack invents some computer wizardry to make PC side-scrolling games as smooth as Mario Bros. Putting together a crack team he founds what would become id Software (DooM, Quake, &c) and releases, in December, Commander Keen, a game about a boy who defends Earth from aliens with a ray gun and pogo stick. Keen would enjoy widespread success as one of the first big share-ware games published through Apogee. Sharing, as a concept, would be banished to Barney and PBS by the end of the century.

1991: Apogee, enjoying the massive profits that software sharing in the economy could engender, decides to vertically integrate. They release Duke Nukem, a project which probably stemmed from a clever title first before anything. Nukem is largely Keen, with more shooting and less pogo-sticking. Nukem the character, rather than being an imaginative boy, is a sort of Rambo-Mario hybrid.

1992: Apogee released Duke Nukem v2, renamed Duke Nukum, afraid to trigger trademark issues with Captain Planet. Captain, lacking any paperwork, or a lawyer team that may be inappropriate for a show about eco-activism, doesn't push the issue. Apogee re-renames their character and game to Duke Nukem.

1993: Duke Nukem II, fueled by even more shareware money, is released. The game would be massive, relatively, and received generally positive reviews and sales. With the current boom of game development, fans expected Apogee to release DN3 in the following year.

1996: The mid '90s would mark rapid changes in video games. The popularity of Doom and Wolfenstein 3D (of id), plus the rapid acceleration of technology, brought great attention to both FPSs and 3D graphics. In a surprisingly pleasant case of who-asked-for-this, Duke Nukem 3D was released. The game would be a similarly fun 3D romp to Doom, but against aliens rather than demons. To further separate the game from the genre, Apogee decided the best path was for Nukem himself to have personality beyond the blank angry faced avatar of Doom guy. Nukem takes steroids, shoots "pig-cops," and frequently discusses ****ing and ****ing with females. (This edgy reboot of an otherwise blank character would be mastered in Rare's Conker's Bad Fur Day.) The game would be a massive hit and ported onto every conceivable system.

1997: Apogee (now named 3D Realms and a darling in the business), announces Duke Nukem Forever, to be released in 1998. The Quake 2 engine was purchased, mock up screenshots were made, and after a successful teaser-trailer, both critics and fans waited eagerly with bated breath.

Sometime between now and the heat death of the universe: Forever would enter development hell. What would become a common occurrence in over-capitalized entertainment-by-committee industries was still a new phenomena. Forever's name would become more and more apt as the game changed engines, teams, studios hemorrhaging money along the way. An occasional announcement would be made, or a screenshot of Nukem smoking a cigar, but after over a decade most sensible people gave up on the idea of the game altogether. Nukem would slip through cracks in time.

Hell, naturally, does not subside, and development hell would continue to infect and plague any creative industry that makes that $$$. Sometimes, angels intervene and a project emerges on Virgil's back to great acclaim (Mad Max: Fury Road), but more often you are left with grotesque demons (The Mask 2, The Dark Tower, Death Note, T3, Watchmen...)

(An aside: Some projects stuck in hell seem oddly appropriate—i.e. the movie adaptation of A Confederacy of Dunces.)

2011: Duke Nukem Forever is released and is a massive flop critically and commercially. Everyone knew it would be bad, and it was somehow worse. A Frankenstein monster that makes absolutely no sense in 2011. 3D was successful for bucking trends and bringing something fresh; Forever warns us what happens when you reanimate the dead. The context over time and circumstance have totally changed and Forever feels like something out of place, even if they did execute it properly (they didn't).

2021: Duke Deuce releases Duke Nukem. I would largely say it's largely "not for me." Perhaps a track or two, in the context of being Crunk at a southern club, would be a very grand time ("ARMY," probably; maybe "DUKE SKYWALKER" or "KIRK" for something a bit different). But here, it's kinda repetitive in aggregate, and doesn't engender a lot of relistening.

Deuce's long call of "WTF", however, remains ever endearing.

Duke Nukem, Joe


I don't know why I have to turn every single hip hop album I listen to into an existential crisis, but it happens every time. It's like I'm perpetually fixated on the answer to "What does my opinion of rap music say about me?" without realizing that it's not about me. No one gives a fuck what I think, whether positive or negative. It ain't that deep.

An original draft of this album review started with the following sentence: "Oh my goodness, no." That was my immediate reaction, and I feel like it's going to be others' opinion as well. I'm assuming that a majority of Record Club members—myself included—only have a passing familiarity with "crunk," or any type of rap that is this hard. With music that at first appears harsh and hard and unfamiliar, one can be tempted to dismiss it. If it wasn't for Record Club, I would've made it three songs into this album before giving up.

Another draft of this review (this album review was really hard to write!) got into the specifics of one specific qualm I had this album, and with most hip hop albums that I listen to. I was able to come to a realization about how I've failed as a music critic. I also was writing it as pretentiously as possible, and it didn't work out well. But here's that draft, before I hit a dead end.
"You can do better than this."

That's my Creative Writing 101 professor. I'm in his cluttered office. It's during office hours, and we're following up on a first draft of an album review that I wrote last week. I was young and brash and thought I knew everything, so of course I got offended.

"That's my best work. It took me hours to write that."

"There is so much room for improvement, Joe. Shall we go through it?" The man was displaying a patience that all great college professors possess.

"First, I think you might want to reconsider this section about how you dislike, um, how did you put it? 'A brazen lack of humility.'"

"But Professor, c'mon, you've heard the album. Am I wrong?"

"No, but I have a few concerns. The first is that this isn't the first time you've expressed this bizarre need for humility in music. This is a creative writing course. Rehashing something you've already said isn't creative."

"Fair." I had no answer to that.

"More importantly, I think you might want to consider how this might look... a bit racially insensitive? I.e. the fact that this only seems to be an issue when you're discussing a black musician."

"But Meghan Trainor—!"

"See, I knew you were going to say that. I remember reading your piece on Meghan Trainor. You do realize that her 2016 hit 'Me Too' was tongue-in-cheek, right?"

"..."

"It was meant to lampoon the very bravado that you yourself claim to hate in music. She's on your side, albeit she is expressing her opinion in a shitty off-brand D-level pop-star kind of way. Whereas you are just writing shitty blog posts. But you're two sides of the same damn coin."

"So what you're saying is that I only express this specific opinion when I'm listening to and writing about hip hop, and that those artists that I'm reviewing in those particular case more often than not happen to be black."

"I'm saying even more than that. I'm saying that you are showing a fundamental misunderstanding about what hip hop even is."

"I don't disavow the accusation."

"Braggadocio is baked into the very foundation of hip hop."

"And this is a good thing."

"It's not a good thing or a bad thing, but it is absolutely a true thing. And I think you are just approaching it from the wrong direction. I get the feeling that you are so offended when an artist thumps his or her chest and says 'I am the best' because you have a low self-esteem, and sincerely wonder that whether their superiority conversely means that you have some inferiority. And that offends you."

"Shouldn't it?"

"It shouldn't. This isn't about you, Joe. Not really. It's not some competition. Someone's success doesn't necessarily mean your failure, at least in the context of the creation and distribution of art. The artist here isn't saying 'I'm the best, and you're not.' He's just saying 'I'm the best,' and he's doing so in a variety of fun and funny ways. There's an energy that comes from that. You're supposed to feed off that power. It's supposed to make you want to beat your chest too, and proclaim that you are the best too. God, you're so fucking sensitive."

"C'mon, relax. This is supposed to be a college professor speaking to his student here. I described you at the beginning of the review as 'patient,' and now all of a sudden you are getting heated? That's inconsistent character writing."

"Hey, I'm the professor of Creative Writing here."

"Okay, let's say that I was wrong about this particular aspect of this album. I admit it. I've been unfair. I disagree that it's a race thing, but I understand the optics of unfair criticism consistently lobbed toward a specific genre that is historical known to be created and sustained by the African American community. I promise to be more sensitive toward this issue in the future."
Oh yeah, that was bad, and it was about to get a lot worse before I pulled the plug. But it was only bad because of the dumb premise—I mean what I said about trying to look at this genre of music in a different light while exploring Duke Nukem.
 
Duke Deuce, as a character on the album, is attempting to an express a series of emotions—elation, power, self-worth. So all the references to being good at sex and tough enough to tote a gun and all the N-words, maybe we can not take all of that literally, and instead allow them to collectively heighten our own emotions. Not to literally "treat the pussy like Michael, stab it till I kill it," but to use that confidence in one's ability to feel more confident about your own ability. Maybe get a taste of that power, at least in the metaphorical sense.
 
I don't necessarily know if this particular conclusion translates into a good score for Duke Nukem, but it's something at least. It's something that made me like this album a lot more than I would've otherwise. But is it a good album? I don't know. Probably not.
 
I went back and forth on this album throughout the week. My appreciation was like a sine wave. Sure, I was high on the album when I realized that the opening song samples the Stooges' "Dirt" (the first time in my life I recognized a rap sample without having to look it up!), which is such a good choice.
 
But, like, also, this album is really repetitive, right? I mean, how many times can Duke rap over a sad-sack piano riff? How many times can I hear his dumb catchphrase (you know exactly what I'm talking about here)? This album could've been half the length and would've been stronger for it.
 
Then again, there were a bunch of little things rattling around the album that I like a lot, and acted as life rafts in the rising tides of boring-ass crunk. That verse by Mulatto in "KIRK" is pretty good, even if it is the same trick that RTJ pulled on "Love Again (Akinyele Back)." Some of the lyrics were funny—the aforementioned Michael Myers reference, for instance. Some lines were so incredibly dumb they eventually became funny—like the "GANGSTA PARTY" line "I make your ho kiss the dick, mistletoe." I also laughed every time Duke Deuce said his own name, because it legitimately sounds like he's saying "Doo Doo," and because I am six years old, I think that's hilarious.

I guess maybe that's technically a criticism, that some of Duke Nukem sounds like a Tracey Jordan rap album, and that can't have been Duke Deuce's intentions. Like, the chorus on "MOVE" is literally "Get back bitch! Move! Get back ho, ho!" It's silly. I like it, but probably not for the right reasons.

Alright, I think we pretty much covered everything—thoughts about the genre, convoluted premise, funny rap lines, doing everything I can to not actually talk about specific songs. What's left? Oh yeah, just one more of these, for old time's sake:

WHAT THE FUUUUUUUUUUUUUUUUUUUUUUUUU

GRADE: 2.5 pukes out of 5
 
Postscript: ONE WEEK LATER

"You can still do better."

"What?!" I'm back in my Creative Writing professor's office, and he's reviewing my second draft, after I changed all the stuff about Deuce Duke being cocky, which I realize now is the point.

"Yeah, it's an improvement, but there's still some cringeworthy stuff in here. For instance, there's a paragraph in here about how some of the lyrics are 'so bad they're good.' I feel like I keep seeing that in all your reviews for hip hop albums."

"I'll defend myself here. I really do believe that."

"But don't you think that comes off as a bit snobby? As if you could write a rap verse better than one that compares your penis to Michael Myers' weapon of choice."

"Okay, but if I'm going to compare my own musical talents or lack thereof to every musician that I listen to, then wouldn't I just rather become a musician myself instead of writing about it every week?"

"No, what I mean is that you're a music critic, right? And so you have to ask yourself what are the intentions of the artist that you are reviewing. The criticism comes from determining whether the artist did what they intended to do. Did Duke Deuce intend to devolve into parody when he wrote about a Michael Myers penis? No, he was intending on express that aforementioned braggadocio in a funny way. You can say it's funny, because it is, but if you're going to say that it's funny only because it's dumb, then you have to back that up. And you can't, because you wouldn't be able to come up with anything better yourself. And if you say it anyway, then you're a snob."

"Alright, alright, fine, I'll take that out in the next draft."

"That's another thing. You didn't take anything out of the first draft. You simply included it in your second draft as a block quote."

"And?"

"What, you are trying to sound clever or something? If you wanted to show us how motivated you were to write a good review, you would've just rewritten it and included it in your final draft in a more seamless way."

"You know I'm too lazy for that."

"I was starting to get that feeling, yeah."

"I might even include this conversation about the second draft in the final draft."

"Oh god, please don't. No one likes when you do this."

"Too meta for you?"

"See, just using the word 'meta' is embarrassing, let alone trying to do something that you think is clever in a 'meta' way but ends up being fluff. You're here to review Duke Deuce's 2021 crunk album Duke Nukem, right? So then why are you bothering with all this extra bullshit about your fake conversations with my fictional existence? Who could possibly enjoy this?"

"I don't know. Somebody might. It's just... I get bored writing album reviews every week sometimes."

"So why even do it at all? Joe, you've been coming into my office with your album reviews for 113 weeks in a row now. No shit you're getting bored. Why are you even doing this?"

"There are definitely moments when I am bored or frustrated or when I just don't fucking feel like writing anything. There are other times, though, when I get to touch something beautiful in music that I would not have without Record Club, and I get to share that beauty with my friends as creatively as I possibly can. Those moments happen like once a month maybe, tops. But those moments make it all worth it. They make this dumb hobby feel worth it, despite all the other shit. But of course, there are other moments, like this week, when I just feel worn out, ya know? That's natural. I'm not going to like every piece of music that hits my desk, even if I'm the one that's picking the music out myself that week. Even if I don't like it, it doesn't make sense to me to go smaller—though clearly I am in the minority here. Instead, I'll go bigger, even if 'bigger' means writing a whole bunch of bullshit that really doesn't have anything to do with Duke Nukem and really strains to be 'clever' in a 'meta' way and probably fails in that regard to everyone reading this but me."

"If you want my opinion on the matter..."

"I do. That's why I am here."

"Then I think you're just scared of the fact that it is pretty plain to everyone who has read any of your bullshit in the past 113 weeks that you simply do not know how to write about music, and you use all this other stupid shit as window dressing to hide that fact. And you would think that you'd use 113 weeks to try to, I dunno, improve your writing and your abilities. But instead, you seem to have gone in the opposite direction. You've started to concentrate less on the music itself and what it means, and more on how you're going to express your 'opinions' in your weekly review. You're losing sight of what this is all actually for. We're here for the music, Joe, not to read your fucking fake transcripts or whatever the fuck you decide to do on any given week."

It was then I realized that this wasn't a Creative Writing professor at all. Which, I mean, wouldn't have made sense anyway—I haven't step foot in a college classroom in almost a decade. No, this was not a professor but a figurative manifestation of all my deepest self-doubts. And after reading my album review for Duke Deuce's 2021 crunk revival album Duke Nukem, and its accompanying postscript, I started to think that maybe he was right. I have wasted a lot of time with this. With all of this, really. But I knew too that I wouldn't ever be able to stop, that I'd keep wasting my time on this blog, writing album reviews that not even I will like, that I'll just keep writing and writing instead of, ya know, writing and editing. That I will keep thinking that I'm "clever" when I write this kind of shit but really it's coming off to everyone else as sophomoric and lame. That some insane person will still be reading this "review" at this point and will wonder when the fuck it will end. Well, it ends now, I guess. Until a new week begins, anyway.