Wednesday, June 25, 2025

Never Seen It #226: The French Connection

All right! You put a shiv in my partner. You know what that means? Goddammit! All winter long I got to listen to him gripe about his bowling scores. Now I'm gonna bust your ass for those 400 movies you've never seen before and I'm gonna nail you for picking your feet in Poughkeepsie.


The French Connection
1971
William Friedkin

The problem with saying that a film has "aged poorly" is that half the country has no fucking clue what you're talking about. Even acknowledging that something may not mean in 2025 what it was intended to mean in 1971 is a bridge too far for some people. I'm TOO WOKE if I say some negative shit about The French Connection. I can't imagine anyone would be on Puke on Your Birthday calling me a woke libturd (without the anonymous moniker and an obvious layer of irony), so when I point this kind of stuff out, I'm mostly creating strawmen. Still, at the same time, I could probably see a boomer say something like "You can't make movies like The French Connection anymore!", which is absolutely not true. It's just that, if you're gonna make a movie in which the good guys are crooked cops, then you're probably gonna have to depend on a healthy boost from the anti-woke conservative crowd to make a profit.

So, okay, yes, to out myself: I felt uncomfortable with the amorality of the leading man, Popeye Doyle (played admirably by Gene Hackman, r.i.p.). If I'm wrong to write about it here, I'm only wrong in that I have probably written about it too many times in the past. Off the top of my head, Dirty Harry is probably the best example of the phenomenon (and the most coherent argument I've made on the subject, all things considered). There is a main character, he is a cop, he doesn't play by the rules, he wins the day despite and even because he doesn't play by the rules. Which is fine, because at the end of the day it's a fictional movie from 54 years ago. However, the film itself is giving the stamp of approval to Doyle's actions. It's saying that it's okay that he's breaking the rules, because he's catching the bad guys in the process.

The problem—the reason it hasn't "aged well," the thing that makes me WOKE—is that police officers today, like right now, like RIGHT AS I'M TYPING THIS, are out there in the real world, in urban environs, also not playing by the rules. I see it on TV and online. Cops like Doyle, beating the shit out of people, sometimes even killing people, and at the end of the day being rewarded for their actions, either with paid leave and a cushy desk job at worst and the undying loyalty of half of this fucked-up blue-flag-wavin' population at best. Cops like Popeye Doyle have always been valorized. It's happening within this movie. He's a "good cop" who "gets results." Pay no mind to communities he lays waste to in the process.

Okay, now that that's established, I'll tell you the interesting thing about The French Connection. Despite all the proto-copaganda throughout, I still found the movie to be really well-made and taut and exciting. The need for ACAB in 2025 did not ruin this 1971 cop movie for me. First of all, there are legitimately thrilling sequences all over this thing. I hate cops, but watching cops do their thing with an unlimited budget can be interesting in fictional settings. (I almost wished I had watched this film right after White Heat, since it feels like a natural extension of the pro-cop detail-oriented police work that we witnessed in that movie.) All the tailing and whatnot, it's good stuff. Then, of course, there's the car chase, which is usually ranked as one of the best in movie history. I don't have to be "rooting for the cops to catch the bad guys" to get excited by fast cars and faster trains.

I'll get to the second thing in a moment, but writing about the car chase reminded me of a phrase that I saw from a quote from Pauline Kael's review of this film: "jolts for jocks." It's a subtle criticism of the fact that this is all basically one big chase, without any nuance. I get it, and I think she's onto something. However, as I established with Bridge of Spies, I think there's a lot of room for films like this, where it's all text and that text is exciting. The problem with the majority of contemporary movies is that they really are all jolts for jocks. You remember the ones that make you think long afterward. But you have to find a balance. I am still shaken after watching the pure cinema that was the extremely dense Russian Ark. I needed something like The French Connection to loosen me up, just a little bit. Just a little jolt for this jock.

And but so the second thing that helped make The French Connection's "poor aging" not really ruin the movie for me was that it was at least upfront enough about the amorality of its main characters that there's wiggle room to view the film however you want. When Doyle drops the N-word within the first like five minutes, it becomes a Rorschach test—do you consider him a flawed hero, a good cop despite his flaws, or do you consider him a bad cop because he uses his flaws as leverage to win? I know which way the film wants you to lean, which is why it's aged poorly. But the door is still open for you.

I pretty often preach that it's important to view a film from your own POV, and that you can see within a movie pretty much anything you choose to see (within reason). You bring yourself to the experience. You're only going to see Popeye Doyle as the bad guy if you open your goddamn eyes to what is happening in America right now (and has been for too long). Not everyone does that. It's possible to view this movie as a thrilling 104-minute chase scene, especially if you have a Taken view of the world (everyone is bad, danger around every corner, every stranger is a communist illegally voting for Biden twice), and think that Doyle needs to get the bad guys, by any means necessary.

Think about this, though. Doyle is needled by an FBI agent throughout the film for some past unexplained fuck-up in which another cop was killed. It is thus established that getting a cop killed is one of the cardinal sins of policing. Okay, got it. But then, during this thrilling car-vs-subway chase scene, which wouldn't have happened if Doyle hadn't 'roided out and stolen a car and chased the damn train, up there on the moving subway... a cop is killed. Shot by the bad guy. A bad guy that only had a reason to kill because Doyle was chasing him. In a sense, another cop is dead because of Doyle's actions.

And guess what? This is never mentioned again. This is how I know that the film is not even trying to paint Doyle in any actual negative light. It can't be negative—he's a cop! We can just wipe clear the memory of another cop getting killed because of his actions, since the actual emotional logistics of it would completely derail the movie. Kinda like how conservatives today are all about the thin blue line and supporting police forces, and yet it was those same conservatives who killed a cop during the January 6th insurrection. They don't seem to talk about that one too much, do they? Maybe they should watch The French Connection. That would sooth their poor bruised pardoned souls.

Sigh... it was a good movie.

GRADE: 3 pukes out of 5

NEXT TIME: The Zoom was last night, and the discussion is going up tomorrow. We're talking peens with Magic Mike.

Held Accountable — Day 51


Hit the gym this morning! This is my one positive thing. I woke up early, drove the golf cart to the guest fitness center, and did my usual routine. It wasn't the best workout of my life, but it was something. Better than nothing. 

I guess another good thing is that we're doing a lot of walking. My feet hurt for it, but maybe it's staving off a full reverse of the weight loss. 

It's late right now. It was a long day. I'm tired as hell. I just got into bed. I was brushing my teeth and looking in the mirror and it occurred to me that I didn't look overweight. Maybe I'm just tired and out of it. But I do think that, regardless of the bullshit I'm eating this week, I'm going to make it to the other side and start again strong.

Tuesday, June 24, 2025

The First Time I: Fell in Love in the Bomb Shelter

This is The First Time, a column where Zach either 1) writes about the first time he did something specific in his life and talks about any pop culture connections surrounding it, or 2) tries something for the first time ever in 2025 and writes about it—sees a new movie, eats a new food, etc. etc. etc.


Above all, her name is Noa.

Noa. A name I have come to love in the past ten days. A name that has been there for me, every few hours. The pink pajamas that match the pink fingernails. The playful contests. "You made it down before me!" "Why are you so slow?" And so on.

She is there, every time. Her fleece marks the chair where she sits in the bomb shelter (also known as a miklat). She comes down, with her go bag, in case a missile hits our building and she loses everything. I do the same.

Noa is incredibly beautiful.

Until ten days ago, the missiles being fired our way were coming from Yemen, one at a time. No massive volleys of rockets. The sirens the Houthis triggered were mostly a nuisance and their rockets were mostly intercepted. I ignored a few of the sirens. 

When Iran started bombing us, we all knew it was more serious. We got the first alert around 3 AM on Friday, June 13. It was an alert unlike one any of us had ever received. You know the amber alerts you get on your phone, when there's a tornado warning or when a child is missing or something like that? That's what it was like. Blaring, scary sounds, yellow exclamation marks, the whole deal.


I had barely slept all week just because I was running around, doing a lot of things. People were talking about war with Iran, but it felt like more of an abstract idea than an immediate threat. I had no inkling things were about to get real.

I thought I had heard a knock on my door that morning, but I couldn't be sure. Then I got up, with a start. I haven't been sleeping with my phone in my room for sleep hygiene purposes. What happened? I got up. The lights were all on in the apartment, and the bed on the couch was made. Neither of those things made sense. Putting two and two together, though, it was clear that my roommate had knocked on my door to wake me up, and that there was some kind of attack happening. Our neighbor who doesn't have a shelter probably had come over and was sleeping on our couch. And I was late to going down to the miklat in the basement because I was such a sleepyhead.

Quickly I went to check my phone. There was one text from mom. "Really nervous about news of strikes on Iran. It's very scary having you there. I'm so worried about all of it, and the country, and the world. Please stay safe." Another, from a friend. "Stay safe." 

I ran downstairs, to the miklat. There they all were. My roommate, the neighbor who I suspected was crashing on our couch. All the other neighbors in our building.

And Noa.

"Zach!" she exclaimed. "You're an idiot!"

***

Noa and I already knew each other. She lives in Apartment 5, one floor below me. I met her in the miklat at one point, after one of the Houthi-inspired sirens in March. We chatted a bit. She hasn't been there the whole time I have—she probably moved in around January. I decided to take a flyer on inviting her for Shabbat dinner, and she was super appreciative of the invite, even though she couldn't come. A couple months later, I hosted again, and she came. I was already crushing on her a little bit at that point. She is the girl next door, with an energy I love. She's very giving—she offered to help me get unemployment benefits after leaving my job; she offered to put me in touch with her sister who could help me find a new job if that's what I wanted—and strong. An athlete. Doesn't suffer fools. Calls people on their bullshit. I was into it.

But she lives in my building. I have to see her relatively often. And the main kicker—she's not religious. She grew up in a religious family, but gave up on it, and isn't where I'm at these days. I've dated non-religious people and it generally just doesn't work. The lifestyle we want for ourselves is just too different. (Not that dating religious people has "worked" up to this point either, but yeah.)

I told my friend who is married and pregnant and who was also at that Shabbat meal that I had a crush on Noa. "Join the club," she said to me. "So do I. She's very crushable."

That put it in perspective. A good looking, available girl who lives in my building? Of course I'd be into her.

So I let it go. She was cute, yes, and single, and fun and nice and all the good things. But why should I pursue something that probably would lead to a dead end? Better to just let it roll and move forward. 

And yet. There she was, in the miklat, worried for my safety. I was late coming down to the shelter. She called me an idiot for moving slow. She cared enough about me to think about how I hadn't made it down there in time. 

Iran hadn't even attacked us at that point. The alert we'd gotten that morning? It was to tell us that we had preemptively bombed Iran, that we should expect a response. 

I went back to sleep. But Noa was on my mind.

***

Since then I've seen Noa close to fifteen times in the miklat. 

First we get an alert, warning us that a missile is on the way. It gives us a five-to-ten-minute warning. Considering that a ballistic missile takes nine minutes to travel about 1,000 miles, the Home Front Command app sends us the alert, along with a government-issued scary Amber Alert style notification. It, too, makes a scary sound.

I get out of bed when I get that alert. Sometimes my roommate has had to wake me up. Alerts have come at midnight, 3 AM, 6 AM, 4 PM, 8 AM, 5 PM. There's no way to know. But none of us are sleeping much. Is this what having a baby is like?

When we got the first alert Thursday, I was nervous about what would happen, but I wasn't really fearful for my property or my life. We get sirens all the time. It's part of living in a semi-war state of affairs. 

But the first retaliatory rocket volley from Iran blew the cover off that safety. It was Friday night. I had a friend over, someone who I had just met the week before. He was visiting from New York, and he didn't really know anyone. The siren went off. We went down to shelter. That time, Noa wasn't there (she didn't come back until Sunday). But we heard booms. That was normal. And then—a whistling sound overhead.

My across-the-hall neighbor's face changed from calm to terrified in a second. "I've never heard a sound like that in my life," he said.

And the next boom we heard was so, so loud.

We found out later the missile defense system (the Iron Dome) hadn't succeeded in intercepting that one. It hit a high-rise about a mile away. And the whistling sound, one I also had never heard? That was a ballistic missile, fresh from its trip outside the atmosphere, whizzing right above our heads.

My sense of security was further degraded after the 4 AM volley Iran sent our way early Monday morning. We heard loud booms that time, too. Afterward, I checked on the news. The outlets don't publish the exact location of any hits, but it was clear there had been a few that morning. The Iron Dome intercepts most incoming missiles, but it's getting overwhelmed by Iran at different points. It can't get everything, and missiles have also hit research labs at the Weizmann Institute in Rehovot and a hospital wing in Be'er Sheva. Somehow, there were no deaths in either of those cases, but major damage was done.

The WhatsApp groups started to light up that Monday morning. At the end of the day, it turned out that the missile had fallen right near a synagogue I attend, a couple miles from me. Multiple people had sustained direct impacts to their apartment. The only reason they were still alive—the only reason—was because they had been inside their mamad (a safe room inside their apartment). 

The blast radius from the missile affected many buildings in that area, and lots of people lost all their possessions and apartments. I personally know three people who lost everything. (P.S. we don't have a mamad in our apartment; we only have a miklat in the basement, which is also sufficient.)


One such apartment. I was there to help with cleanup.

I take a bag down with me every time there's a siren. It has CLIF bars, my passports, my prayer book and materials. I try to wear my running shoes in case my apartment is destroyed and I can't go back up to get them. Running will keep me sane. 

This is the backdrop of my life now.

When I hear the siren, I dread it. Who knows if this will be the time things aren't actually OK? 90 percent of me is fearful and anxious. The blood pressure certainly shoots up.

But there's that ten percent of me that's excited. I'm going to get to see Noa again, in just a few minutes.

***

Every siren is a chance for me to have 20 minutes with Noa in a very unusual social setting.

The culture of the miklat is a funny one. It's full with the neighbors from my four-story building. We have young couples—one of whom has the most well-behaved dog I've ever seen—and older people. The older people are the most laissez-faire about their safety. "Is it time to go back upstairs yet?" they often ask. Then they go back up before the Home Front Command has given the all-clear. The young people all look at each other and shake their heads. We stay downstairs until we get the notification telling us it's safe to exit. 

The truth? I have fallen in love, in some way, with every single person who comes down to that miklat.

I love them all. I've see the couple walking their dog this week, like normal, but this week our smiles of greeting are just a little bigger than normal. When I talk about Seinfeld with my neighbors across the hall during a siren, our belly laughs hit harder. I talk to Etti, the older woman, about God. "God isn't here," she says. "Where do you find him?" I love the young couple who wordlessly hold hands in the miklat, him with a nightshirt that has a diagonal zipper across the entire garment, for some reason.

What's also true: I love Noa more than all of them.

She rags on me. From that first early Friday morning, my reputation of coming down late for sirens has followed me. When I make it down quickly, she looks up. "Nice!" she says sarcastically, but with her million-watt smile. There have been a few times I've beaten her down there, and when I do, I can give it right back to her. "You're slacking, Noa," I say. She looked over at my roommate and me during one siren, eating cookies he'd brought down. "You guys are like a comedy duo," she said. 

She focuses on her phone a lot, but she looks up often enough to talk, to make little comments. Her phone, with her cute case that says "Chill Pills." I know a lot about her now, like how she set up her new iPhone 15 this week, and it doesn't get cell service in the basement like her old iPhone 11 model did. So she gets up and raises it to the heavens. When it gets hot, she moves next to the fan to get cool. "I'm too old for this," she says. (She is 33.) Every move, so adorable. How she says she wants a rich husband so she doesn't have to spend the rest of her life in shelters like this one. 

I wonder if it's some kind of defense mechanism? How much truth is there to it? What does she really want?

I try to impress her as much as possible. I definitely put too much pressure on myself to do it. But we have a great vibe down there. I can't get enough of her pajamas. Somehow she manages to look so good, even when she comes downstairs at 4 AM. Is there a chance, some kind of chance, that she's making herself look good for me?

Probably not. But a man can dream. Once—I think it was Tuesday night—I couldn't stop myself. "Do you match your pajamas and nails on purpose?" I asked. She kind of hesitated. I froze. Was that a creepy thing to ask? "Nah," she said. "I've had these pajamas forever, and the nails are from a few weeks ago... but thank you for the compliment."

I hadn't been trying to compliment her specifically, so I didn't know what was behind that comment. Anyway. Now I felt like I owed her a compliment. "I really do like your nails," I said.

And she thanked me and went back to her looking at her phone. 

She is very aggressive at looking at it for long periods, even when she doesn't have service. She likes to update the whole miklat on where rockets hit, if she gets service for a second. She likes to tell everyone when it's time to go back up. She has a tiny bit of main character energy, but she also cares about the other people, offering her seat to the older ladies who come into the miklat from the street because they just happened to be walking by when the siren went off.

My heart is hopelessly ensnared in Noa's web. One day I passed her apartment and I heard her blasting "Good Time" by Owl City and Carly Rae Jepsen. There is nothing that could make me love a woman more than hearing that song. 

I spend my hours between being bombed by Iran wondering what I'll say to her when the next bomb comes in. When the pre-alert comes in, my heart starts beating, because I'll soon see her, and that will make me happy. Yes, of course my apartment could get destroyed too. I could get hit. But the humanity of the love I feel for Noa colors all of that with the pink colors of a summertime sunset.

I felt like a little bit of a creeper for commenting on her nails. But a few hours later, during the next bombing attack, the topic of her pajamas came up again. I don't know how. "I love pajamas," she said. And she was friendly to me. I exhaled. I hadn't blown my chance. Not here. And not now.

***

It was 1:30 AM Wednesday, during the second siren in an hour, that I realized my roommate was starting to lose it. The diagonal zipper couple was being a little more kissy than usual. "That guy is pissing me off," he said. "Why does he have to do PDA?"

There's a chance—a small one, but still, a chance—that my roommate has never kissed a girl in his life. I don't particularly like living with him. In fact, this week, I told him I'm moving out, war and all. He also doesn't speak Hebrew, and—here's another part of miklat culture—forcing Israelis to speak English to you during a missile attack isn't it. It's possibly one of the most Israeli experiences ever to be stuck in a miklat, with missiles raining overhead. When he's there, they speak English to him. And it sucks. (Noa, by the way, has American parents, so we speak English amongst ourselves, but collectively, with the other neighbors, we speak Hebrew. It's the only way.)

So maybe he was jealous of the PDA couple? I don't know.

A few minutes later, he started talking about a building in a nearby town, Bat Yam, that had sustained a direct hit a few days ago. Five people had been killed, none of them had been in miklats or mamads. They were all Ukrainian. My roommate, for some reason, decided to make some racist comments. He isn't a racist person. But he went there.

"It makes sense," he said. "The Russians wouldn't care about going to the miklat. They would just stay in their apartment, take the risk. I know Russians in Bat Yam."

Noa looked up. "Why are your stereotyping?" she said.

"Because I KNOW Russians in Bat Yam!" he responded.

"Why are you getting so worked up?" she asked him.

"Because you're calling me racist!" he said.

And they kept talking for another minute. It was now 1:40 AM. I stayed out of it, not saying a word. Obviously, I agreed with her. I went upstairs, already awake, and watched the first period of the Stanley Cup Finals Game 6. There are some benefits to being woken up in the middle of the night.

The next siren wasn't until 7:30 PM. I was out for a run when I got the pre-alert, about three-quarters of a mile from my apartment. I sprinted home. There were closer shelters nearby. It didn't matter. I wanted to see Noa. And I made it in time.

By then, my roommate had gone to visit his mother. It was just me down there, with the neighbors and Noa and her friend who was visiting. 

"Where's your roommate?" she asked. I told her. 

"Good," she said. "He needed a break."

And we proceeded to bond over his weirdness. "He's a very defensive person," she said. Inside, I smiled. Here we were, connecting even more over him. "You're chill," she said. Little does she know, but I'll take it.

I told her during one of the next sirens—when was it? I think it was at 8:30 AM—that I'd have the apartment to myself for the day, because I thought my roommate would stay with his mom.

When he walked through the door of our apartment at 11 AM, my heart sank. I texted Noa right away.

"Ariel came back already," I said. "wtf," she wrote back. And we kept texting, just a little bit. And I was happy. We got to a texting level! We weren't just bonding over bombs! There was more!

There were a few points where she could have broken off the texting. But she kept it going, just a a little bit, sending me a meme of sorts, unprompted.


My love had doubled, and redoubled, and redoubled once again!

I left my apartment for the afternoon to volunteer. My friend was cooking for reservists at the Home Front Command, and I helped him—165 meals in all. It got later, and close to midnight. I looked at the clock again and again. Iran had sent bombs our way the past two midnights. If they did it again, now, I'd miss my chance to talk to Noa. 

But there were no sirens that night. I got to sleep through the night. And, most importantly, I didn't miss out on Noa.

Since then, there have been a couple more sirens, all without my roommate. I still don't fully know how to impress her in this kind of pressurized social situation that's unlike any other. I try my best. Sometimes I feel like I do a better job than others. Sometimes I can't tell if she wants to talk, or just wants to look at her phone, take deep breaths, text with her family, look at updates, do her own thing. I don't know. I try. I try my best. Every interaction, fraught with such importance like it could be our last. ChatGPT tells me no one interaction will make or break anything between us. I know that's true. And yet. I hope she likes me. I really want her to like me. I want to lock eyes with her, hold her hand, tell her that the world isn't ending, that I'm here for her, that everything is good, just because I'm here.

I know I can't ask her out. At least not now. Doing so would disrupt any kind of excitement I have at the possibility of what could happen between us. No. This is the time for quiet magic, for endless potential. It's not the time to drop it all and say "do you want to get a drink sometime?" like I normally would. This isn't normal. And that's part of the reason I like it so much.

I also really, really don't want to get my heart broken by her. It's not ready to be broken by someone who I have such a strong crush on. I need to protect it for now. 

Tel Aviv is probably more in the Iranian crosshairs than any other city. But I don't want to leave, to go somewhere else where there will be fewer sirens. I don't want to leave my space. I don't want to leave all the neighbors. I feel like we're all together, and we need to ride it out together. Ride together. More than anything, I don't want to leave Noa.

I am so curious what she thinks of me. She definitely likes having me around, on some level. But anything more than that? Does she share any of these thoughts? Is she downstairs, typing something similar for her friend's Blogspot blog? 

I don't know. 

And that's part of the fun. The mystery. And the chance that anything could happen, at all.

There's a very good chance she's not at all where I'm at. She's not typing into her email about me late at night. But I want to believe. I just want to believe there's a chance. Even if it would never work between us. That belief, and that slight excitement—that positive female attention, regardless of anything else—is part of what's getting me through this war. 

***

Things seemed like they might have been calming down just a tad over the weekend. My job called us back into the office. There were no sirens for 30 hours. Things didn't feel normal on the street—they were still very quiet at night, and the work from home arrangement the previous week and the restrictions on large gatherings gave off strong COVID vibes—but maybe we were getting closer to some kind of normalcy. Maybe. Just maybe.

Now the US has attacked, and we are back to square 1. But to quote this week's MMM prompt: "This Post is Not a Political Post." And it really isn't. This is my war experience, plain and simple. The politics of the US's entry to the war affect my life, and that's all. 

We aren't going to the office this week in the end. Iran is threatening to use even bigger bombs as retaliation. It's not impossible that my apartment could be damaged, that something could happen to us. The odds are low, but I live in Tel Aviv. It's happened to friends, and it's happened nearby, more than once. Every boom we hear during an attack is one we hope doesn't come for us.

The siren this morning at 7:15 AM was one where we had to stay downstairs for 45 minutes. Noa sits in the corner of the miklat, and my seat is right next to hers. We chatted a bit about her family—she missed one siren because she was helping her sister with her kids—and about the others in the miklat. About my roommate, and about how we can't sleep normally, because we're just bracing ourselves for the next Home Front Command alert. Noa looked at her phone. I stretched. I quietly felt my crush envelop all my bones. The booms were really loud this morning. We all flinched as we heard them.

Maybe she will grab my arm during a really loud boom, one of these days?

Wartime is one of the horniest times. It has to be. Just look at our grandparents, at the Baby Boomer generation, all the kids they were having, all the sex they were having.

I don't know how much the war is affecting my love for Noa. I'm sure the general end-of-days feeling that exists on the street here has something to do with it. I can't quantify how much it affects it, though. What's real, and what's not?

Would I love her this much if we weren't being bombed?

Does it matter?

I fantasize about writing a long love letter to Noa. Telling her how I feel. How incredible she is. How I love her necklace with a yellow ribbon, to remember the hostages. How I love her WhatsApp status (just a lemon emoji, nothing more). How I love that she climbed Mount Kilimanjaro. How I just like sitting next to her, being near her. How I fear that leaving my apartment (I will move out around August 1) means leaving her. How I fear that the end of this war (whenever it comes) will mean that I won't be able to see her every few hours, even if it means I'll be safer and the world will be safer. How I picture me and her running through a grassy field, her in her wedding dress, me in a dapper suit, completely and utterly in love, with the best possible origin story to boot.

Maybe I'll tell her about my crush one of these days. When the war ends. When I move. When things are different, when I don't see her every few hours. When we can continue our lives, like normal people, who go to parties and concerts and synagogue gatherings (all of which were canceled at the beginning of the war).

Even if I do, though, I'll miss this magical time. The time where death and destruction stalk us, but when we feel things just a bit more. I'll miss the trips down to the miklat, the rushing down the stairs. And, then, turning that final corner, where I see the bottom of those pink pajamas, paired with pink sandals, legs crossed, one foot twirling circles in the air. 

One day I'll be living in peace, with no bombs falling, hopefully with my own children surrounding me. But I'll miss that feeling, that thrill in my stomach. Of Noa. And of love, a love fully inside me, a new love that can go anywhere, anytime, subject to foreign missiles and geopolitics and two simple souls who, above all, just want to find one another.

Never Seen It #225: Russian Ark

Is something still troubling you? Is it the blog? They want acorns without oak trees. They are not interested in knowing how to nurture the tree of culture, but it will be their doom if the tree falls. Then there will be nothing left except 400 movies they've never seen before. Can't they understand that?


Russian Ark
2002
Alexander Sokurov

And as we glide into the blog post for today, the capsule with which I shall fill a historical document of my thoughts and feelings about the 2002 film Russian Ark, to be preserved here, in this space, hopefully forever. We touch upon the normal points that are made in such a space. I'd first say something like "and this is why I originally thought I should see this film," which is always pretty important (unless you are a surly European and scoff at such ideas). If you know anything about Russian Ark, then you know the one thing that made me put it into the rotation. It, the film, is comprised of a single 96-minute shot. There are no tricks. I've seen Rope and I've seen Birdman and I've loved those films because of their attempts to make it seem like the entire thing is one unbroken shot. There is no "seem" here. It's the real thing. The director took a camera and he filmed the whole goddamn thing in one shot. It was filmed in a real place, a museum in Russia that they only had access to for FOUR HOURS, so it was true make-or-break shit. Obviously there were rehearsals beforehand. Obviously you could probably scour the background over repeat viewings and find some flaws, an extra that stumbles or something. Even taking all of that into account, this is BONKERS filmmaking. I get winded just thinking about it. I marvel at this shit. I always have. Just the idea of art that takes risks. This is a tangible risk. I'm not talking about life-or-death, I'm talking about putting your whole fucking self into something for the sake of the art, with the risk that it might not be as you imagined it'd be despite all the sweat and heart. The long take is the epitome of this lofty emotional ideal. I've been obsessed with the idea ever since True Detective did it in Season 1 (that six-minute steadicam shot was sincerely the only capital-g Great thing that that series has ever done). The appeal of Russian Ark was too strong for me. I had to watch it. I had to watch it early on in this iteration of PoYB's film journey too. The question I might pose is: would this film be as good if it wasn't for the long take, or is the long take the whole fucking thing? Because obviously there is a lot more going on within that long take, and sure, maybe not all of it works for me. The basic premise is that the unseen narrator is traveling around a museum of Russian history and seeing that history being acted out. We see great Russian works of art but we also see Catherine the Great trying to take a piss. The hitch in my viewing of the film is that I know next to nothing about Russian history, and so I was extremely slow on the uptake, just in general wondering what the fuck was even happening a lot of the time. But the arc (arc, not ark) fit just fine for me. First, I noticed the long take. Then I wondered what the fuck I was watching. Then I gradually forgot about the long take as I started to understand the purpose of the story. The idea of the ark (not arc) being the museum itself, like the Biblical Ark, literally saving history and preserving it from great upheaval. That understanding came to me about halfway through. And once that was established, then the preciousness of the long take gradually reentered the picture. And as the minutes winded down, the immense pressure of the long take and what it entailed grew heavier and heavier. To the point that the large orchestral scene (thousands of extras! a real fucking orchestra!) felt like a true triumph. They fucking pulled it off. Shit, man, even the end of the long take, with the unseen narrator following everyone out of the long hallway, felt like something intense and special. I don't know if I've ever felt this way about a film for this extended a period of time. Just perplexed and elated and breathless. I think I probably have less to say about the country of Russia than you might expect after watching such a film. Like, obviously it's okay to celebrate the rich history of a nation even if the present iteration of that country is run by a fascist. The dream-like journey through the Russian State Hermitage Museum has a couple stops in the modern day (2002), but mostly is content to focus on centuries ago, 18th century stuff. I'm not interested in Russian history specifically but I'm interested in the idea of preserving history and using it to connect to the history of today. That's why I'm saying that the act of performing this is one long shot is integral to the proceedings, and it would not have been the same movie without it. Witnessing the history of this country is thrilling because the filmmaking is thrilling. That's it. That's the point, the connection. Russian Ark is the ark that's carrying its inhabitance to me, the audience, keeping them safe from current concerns and upheaval. When I see a movie like this, I really do feel like I've grown as a film-watcher. I've learned something new through new experiences. I have a relationship with the art. This is why the scene that will stay with me long after this unending blog post is written and published is the scene when the narrator's quasi-guide has a brief interaction with a modern-day patron of the museum, who is seen literally having a conversation with the artwork that she's gazing with. The European is like, what the fuck are you doing, to which she responds: "The painting and I, we have a secret." That's what it feels like after watching Russian Ark. I watch it, and I think: the film and I, we have a secret.

GRADE: 4.5 pukes out of 5

NEXT TIME: Hopefully I didn't fuck up and download a file without subtitles, I have a feeling we might need 'em for a movie called The French Connection.

A Year of Blind Spots: Moondance

Joe is working through a list of albums that he considers "blind spots," i.e. albums that he's never heard but feels like he should.


Moondance
Van Morrison
1970

What 1001 Albums You Must Hear Before You Die has to say about Moondance by Van Morrison:

Van Morrison's 1968 LP Astral Weeks had made him a cult hero. But Moondance was his first U.S. Top 30 album, and also his first to go platinum.

Morrison was living in Woodstock's rural paradise when he wrote many of these songs, although he left the area following the influx of people after the celebrated festival. Some of the musicians he assembled for the album remained with him for several years, including guitarist John Platania, horn player Jack Schroer, and Jeff Labes on keyboards.

Moondance showcases Van Morrison as a masterly songwriter and charismatic vocalist. In contrast to the acoustic Astral Weeks, the sound is bigger, meatier, with a horn section to add punch; the songs are more tightly structed, less improvisatory. The first side of the LP is almost perfect. "And It Stoned Me" paints a vignette of adolescence with a storyteller's eye for detail, while the smoky, jazz-infused title track remains on of Morrison's best-love songs. Ethereal sailor's ballad of "Into the Mystic" is a moving meditation on the splendor of love; the shivering strings are a wonderfully appropriate complement to his vocals. Elsewhere, a celebratory air, bordering on spiritual joy, haunts many of the tracks—witness the closing trio of "Brand New Day," "Everyone," and "Glad Tidings."

Helen Reddy had a 1971 U.S. hit with "Crazy Love," while Johnny Rivers' version of "Into the Mystic" charted in 1970. Van himself had a U.S. Top 40 hit with "Come Running." His solo career was on the rise.

What Joe has to say about Moondance by Van Morrison:

This factoid about my life has been shared ad nauseam on this blog already, but it's relevant here. A few days before I turned eighteen, my dad found an iPod on the ground while walking around the neighborhood delivering mail. It became my de facto birthday gift. We've been off to the fucking races ever since. But what I don't often write about is the music that was on that iPod when it was found. No one thought to wipe the thing clean before giving it to me. Luckily for the boomer parents who gave me the gift, it was mostly filled with classic rock Greatest Hits compilations.

Best Of discs have always annoyed me, and then certainly did back then too, but I spent a lot of time with that iPod before getting around to organizing it, and so I spent a decent chunk of my late-teenage adolescence learning about certain classic rock artists via their commercial successes. This is the crucible in which I, for one example, learned to fucking despise Simon & Garfunkel. Over the years (soon officially "decades," plural), the vast majority of those artless Greatest Hits comps were burned away. The handful that remain have been stripped for parts. Like, I have Tom Petty's hits all bunched up, but every time I discover a new studio album for myself, I'm pulling its hit singles from the compilation, so as to avoid repeats. In a perfect world, I know every album, and have no need at all for any Greatest Hits ever again.

This is a very roundabout way of saying that Van Morrison's Greatest Hits compilation from that original iPod more than half a lifetime ago is still mostly intact. The reason for that is complicated. It's not because of the quality of music. There's some great music on here. Something like "Did Ye Get Healed?" is a great song, but I have a feeling that I'll probably never get around to hearing the studio album it's from. Somewhat because of the vaguely religious themes that I'm assuming inform some of his later work.

But there's also the fact that... he's an antivaxxer? I don't know. Shit is vague as fuck. I think it's safe to say that the dude is a crotchety old man who has extreme views and, were he American, would probably be maga, or just as bad, some sorta "both sides" moron. None of this affects how I hear his music that I'm familiar with, but it sucked the agency out of wanting to hear more, if that makes sense. Like, there's so much good music out there, why waste time with the deep cuts of this asshole?

1001 Albums doesn't know anything about any of this, and if it did, it wouldn't care. Maybe I shouldn't either. And at the end of the day, I don't. But I listen to a lot of music, and I like to make specific decisions regarding what I'm going to listen to. Just didn't seem like it was worth it. I saw this blurb in the book, though, and said what the hell. (Total sidenote, but does anyone get the sense that Van Morrison probably has some strong words to say about "pronouns"? And wouldn't it then be kinda funny and ironic that his original band was called Them?)

All that to the side, I already knew that Moondance was his second-most critically acclaimed album, after Astral Weeks (an album that I found so frustratingly beguiling that I eventually read a whole damn book about it). It was always gonna be my second Van album. But it didn't help that I've also always been annoyed by the title track (which was on that Best Of disc, as well as established in the pop culture consciousness). I typically like the flute in rock music, but it sounds corny as hell here. So I've always been weary of what the rest of the album was going to hold.

Three songs (all of them on Side A) do more than balance out the preconceived notion equation. "And It Stoned Me" was on the Best Of, and I've always loved that one. It starts Moondance perfectly. "Caravan" is probably my favorite Van Morrison song (shockingly NOT on the Best Of), mainly due to having known it for song long in its live version from The Last Waltz. And then there's "Into the Mystic," a beautiful, haunting song made more so on both counts by Kait's incredible Song Challenge post about it.

Besides "Glad Tidings" (which I think some people try to claim is a Christmas song, or am I misremembering / making that up completely?), that leaves the rest of the songs as deep cuts that I'm hearing here for the first time. Which only amounts to five songs, but still, these are what make Blind Spots worth it sometimes, especially when I'm already familiar with half of the goddamn album. Are they any good? Sure. "Come Running," as you saw above, was a hit. It's a good song, but comes nowhere near "Caravan." "These Dreams of You" is fine, kinda jazzy. "Crazy Love" is mushy, and it barely even sounds like Van Morrison singing. "Everyone" brings back that flute to rub it in my face.

I'm being pessimistic. That's the politics talking. This is a good album. Sometimes I hold this artist at arm's length because I'm cranky, and prefer if classic rock legends didn't waste their time making anti-lockdown songs with a fucking racist. But if we're listening to Moondance on its own, then I'd say it's a triumph. Too bad I can't listen on its own. It's also probably too bad I'm not eighteen and will never be that innocent ever again, during a time when the biggest problem I had was all these stupid-ass Greatest Hits compilations clogging up my new iPod.

Held Accountable — Day 50


I tried to go to the gym today, but I needed a guest pass swipe, and all the cards were in my mother-in-law's wallet, and I wasn't about to wake her up at 5 AM on vacation. I had taken a bike out to ride it to the fitness center, so that was like 25 minutes of bike riding. It's something. I had a bad day when it comes to all this, but it's something.

I ate very poorly. A vacation diet. But we walked a lot on the boardwalk. Maybe three or four miles total. It's something. My ankle is a little swollen due to all the walking, but I'll just get some rest tomorrow. The walking burned a few of the thousands of calories I consumed, but it's something. It's something. 

What if I had a good day tomorrow? What if I lived my best life, here in this beach town? What if I ate reasonable, got some exercise, worried about the kids having a good time, didn't snack on so many sweets, rested?

We'll find out tomorrow.

Monday, June 23, 2025

Monday Morning Mixtape 025: This Blog Is Not a Political Blog

Welcome to Monday Morning Mixtape, a PoYB Contributor-curated playlist of songs, made just for you at the start of each week.


"This Blog Is Not a Political Blog"
Just pick a few good songs about these completely arbitrary subjects, chosen randomly: frozen water; pork; peace; civil liberties; state violence; standing up for what you believe in
chosen by Joe







"Cosmic Cowboy" by SUSTO
from & I'm Fine Today, 2017

Cops live in the suburbs, and every morning, the come into your city and look around like trapped rats and try to gnaw out of the cages, those of their own design, that they entered willingly because they have sharp teeth and they bite in desperation. If they are the rats, then those rats view you, the citizens that they are ostensibly hired to protect, as the scraps of garbage at the bottom of the trash can. They don't protect, they consume. They will shoot you dead if you look at them funny. Listen to SUSTO, and scream what they're always screaming.  —Joe


"The Revolution Will Not Be Televised" by Gil-Scott Heron
from Pieces of a Man, 1971

Immigrants face so much bullshit—xenophobia, exploitation, and cultural displacement. I remember seeing a comedian talk about this in the summer of 2017, and he was like, "You want to support us? Fuck an immigrant. We need it. It's rough out here. It'll make us feel better." And I had that line in mind the night I ended up meeting the person I'd eventually marry as I took him back to my place. So that's my summer advice to you. Be a good American, fuck an immigrant. Maybe you'll find a love of your life along the way.  —Gloria


"I Saw Her in the Anti-War Demonstration" by Jens Lekman
from Oh You're So Silent Jens, 2005
(original version only available on YouTube)

I wonder if it would be possible to fall in love at a peace demonstration. It's a nice story that our boy Jens tells, but I wonder, in a hypothetical way, if it could actually happen. Is anyone in that mindset when they are marching with signs and yelling slogans? Can you do that and still be open to love? Or are the circumstances that cause the protest in the first place too heavy to allow any room for that kind of thing? If I'm marching on the highway, I'm pissed, and I'm probably not in the mood to flirt. But I guess you never know. This is all idle daydreaming. I'm just typing whatever. Mainly because I don't want every blurb to be about how I hate cops.  —Joe


"Archie, Marry Me" by Alvvays
from Alvvays, 2014

When I looked at my outfit in the mirror today, I started thinking about the time I put together the binder of evidence for my spouse's citizenship interview. Our lawyer had said, "They just want to see you two in different places, different outfits, that kind of thing." Which sounded easy—until I realized that almost every photo of us from the past five years had me in a navy top and jean jacket and him in a black t-shirt. I spent hours on this binder, and they hardly looked at it. At the interview, the immigration officer began asking me detailed questions about our two wedding ceremonies—one Catholic, one Hindu—and, in particular, about the Catholic one. I was a little overwhelmed, mostly because I'm not super religious, and suddenly felt like I was on a pop quiz I didn't study for. I think she saw that I was getting tense, and she said, "This isn't part of the interview—I'm Muslim and engaged to a Catholic, and his priest won't let us plan a ceremony in his church." And just like that, the mood shifted. I relaxed and said, "Oh, yeah! Hang on, let me give you Father Sean's email."  —Gloria


"(You Gotta) Fight for Your Right (to Party!)" by Beastie Boys
from Licensed to Ill, 1986

Is this song about rebellious teenage immaturity? Or is it about flipping the bird to "The Man" and celebrating freedom? That was a rhetorical question, but this a real question for any readers: which song would you say is the definitive Beastie Boys song? This song is a likely contender, but I feel like you could also say "Intergalactic" or "No Sleep Till Brooklyn" could be the pick. Maybe "Sabotage"? Either way, I'm curious if any Beastie Boy aficionados want to weigh in.  —Batts


"Peace Somehow" by Avi Kaplan
from Move Our Souls EP, 2025

When I lead the prayer services at synagogue—hell, when I sing songs at the Friday night table—I tend to start with a key that's too low. If my brothers are there, they smile knowingly at each other. No one knows how to pick the right key. That's just the way it is. Avi Kaplan can't help it. He has a deep voice and there's nothing he can do about it. He would be bullied by the egalitarian set who just wants to sing along to Peter, Paul & Mary songs.  —Zach


"Know Your Rights" by the Clash
from Combat Rock, 1982

I saw a video one time that made an impact on me. It's a funny video because it involves Michael Rapaport yelling "shut the fuck up!" a lot. But it's a good video because there's truth here. You don't need to talk to cops. You don't need to do anything but be polite and decline to answer and then shut the fuck up. You have rights. Know your rights.  —Joe


"Immigraniada (We Comin' Rougher)" by Gogol Bordello
from Trans-Continental Hustle, 2010

"We comin' rougher every time!" sounds like both a warning and celebration of the strength and resilience that immigrants have. The frontman for Gogol Bordello, Eugene Hüntz, was about fourteen when his family fled Ukraine following the Chornobyl disaster, and spent several years in refugee camps before moving to Vermont in 1992 as political refugees. He brings that background with him by blending Eastern European folk with punk in most of Gogol Bordello's discography.  —Gloria


"Bulls on Parade" by Rage Against the Machine
from Evil Empire, 1996

I don't specifically know what this song is about, but I assume it has somehow to do with state violence. I'd like to see Rage duet with a sweet innocent young singer like Mette Lindberg. Wait, was that reference not hipstery enough for you? I miss the days where hipsters were fair game to make fun of. Now everyone drinks PBR unironically and rides bikes because it's practical.  —Zach


"Ice Cold Pool" by Wallows
from Nothing Happens, 2019

I am afraid of entering cold water. I always have been. I take one step at a time. It's the worst when it gets to the nether regions. That's when it starts to feel scary. You're supposed to jump in but then I get scared. But the water laps against your stomach and at that point you are left with no choice. At various points in my life, I've taken cold showers, a la Wim Hof. I've taken cold ice baths. I've come out the other side. It does make me feel alive. It doesn't mean I'm not scared of it.  —Zach


"Ice Monster" by Minus the Bear
from Planet of Ice, 2007

I feel like I'm living in a fucking nightmare when I think about ICE. How did secret masked police in America become normalized? How? How? It's fucking insane. Imagine that large masked men pulled up in a van and kidnapped you. That is happening all over America!! What the fuck?? What can we do about this. I'm not just saying this, I'm sincerely asking. What can we do???  —Joe


"Knights of Bostonia" by State Radio
from Let It Go, 2009

I've always liked this song—it's got the spirit of youth and rebellion (and hometown pride if you happen to be from Boston; I am not). There is something about the lyrics, "Only you can set you free." It serves as a powerful reminder that true liberation originates from within. No one can define your worth, your path, or your power except you.  —Gloria


"Ice Ice Baby" by Vanilla Ice
from To the Extreme, 1990

When I was around fourteen, my oldest sister's (23 at the time) boyfriend was deported. He had come here from Brazil and overstayed his work visa. They had a peculiar relationship, as he spoke English poorly, and she was learning Portuguese as they went. I remember asking her about it, and she just said that talking wasn't that important to them, haha. She visited him in Rio for a long weekend after he was deported (and didn't tell my parents about it until years later), but they soon lost touch. I guess it's tough to keep a long-distance relationship going—especially if the physical part was the main allure in the first place.  —Gloria


"All Good Naysayers, Speak Up! Or Forever Hold Your Peace!" by Sufjan Stevens
from Michigan, 2003

Maybe by the time this mixtape is posted, there will be an update to this news, but as of this writing, there's a good chance that the Philadelphia blue-collar union DC-33 is going to be striking next Tuesday. I'm here on my knees praying this happens. I'm not saying that it's the best-case scenario—that would be my union brothers and sisters getting a fair contract with fair wages—but it's a great scenario because it would (again) expose Philadelphia Mayor C. P. as the fraudster that she is. Did you know that she and her staff gave themselves huge raises pretty much right away? But trash collectors and 911 dispatchers are out here left to fucking rot? Fuck that asshole. STRIKE.  —Joe


"Fight the Power" by Public Enemy
from Fear of a Black Planet, 1990

The first time I watched Spike Lee's Do the Right Thing was during my junior year of college. In that movie, Bill Nunn's character, Radio Raheem, blares this song on his boombox in every scene he appears in. One of the most memorable scenes in the film features Radio Raheem putting his own spin on a speech by Robert Mitchum's character from the film The Night of the Hunter, where Nunn's character details the struggle of "love" vs. "hate," and how the balance between them in society ebbs and flows throughout history. Not to turn this music blurb into a film blurb, but Do the Right Thing, in my opinion, is still a relevant piece of cinema.  —Batts


"What It Means" by Drive-by Truckers
from American Band, 2016

Here's my theory, and you can take it as you will. If you own and carry a gun around, you're a fucking coward. You're a fucking pussy-ass coward, a scaredy cat. Afraid of your own shadow. You're a fucking sniveling fucking coward if you have a gun. It's definitive proof that you're a fucking wimp. There are no exceptions. None. If you own a gun and are reading this now, I am telling you: you are not the exception. You are a coward. The only way to prove that you have courage is to get rid of your gun. That's it. The only way.  —Joe


"Year of the Pig" by Fucked Up
a single in their Zodiac series, 2008

Fuck, man, who am I even writing these blurbs for. Doesn't feel good to type angrily. Doesn't feel fulfilling. I am achieving nothing. I'm a fucking internet tough guy, shouting into the void. Preaching to the choir, embarrassing my peers. For now, I'm just some blogging slime, no merit. Maybe one day I will need to take a stand. I hope that I find the courage in that moment. Until then, I'm just typing my little worthless words and filling out some blurbs and listening to some music, achieving nothing of note. ACAB.  —Joe


NEXT WEEK: "This Blog Is a Political Blog" — Be a good patriot and give us some songs to celebrate the birthdate of our nation (chosen by Joe)

Held Accountable — Day 49


Vacation's not going to be kind to this diet. I guess we knew that already. It was inevitable. My will is weak in these sorts of situations.

There's a gym here, and it's open early, so I'm going to check it out tomorrow morning. If I can do that, I won't hang my head in shame.

Seven days until I completely restart the clock.

Sunday, June 22, 2025

Album of the Week: For Melancholy Brunettes (& sad women)

I'm going to be in Ocean City, MD this week. (Wait, wasn't there an argument about Ocean City superiority on the blog at some point? Yup, there it is. I didn't choose the location this week. I'm also not paying for it, so I don't really have a say.) As always, the blogging never stops. If you've got a REALLY LONG or COMPLICATED blog post coming my way, please be kind and send 24 hours in advance, and not the night before. Thanks! Love, your humble editor.

Record Club:

WEEK 334 — June 22-28, 2025


For Melancholy Brunettes (& sad women)
by Japanese Breakfast

LISTEN:

~~~~~~~~~~

PICKED BY VOTE

CATEGORY OF VOTING: "Record Club Alumni Doing Something Else (New Albums)." Here's the thing about the "no repeats" rule—it only counts as a repeat if the logline is the same. The "people involved" isn't necessarily disqualifying. Musicians can work on different projects, and those projects can be called different things because they are vastly different, or maybe other people are involved now too. This is the reason by RC covered Destiny's Child and then later Beyoncé, or the Highwomen and then later Maren Morris. Just because we covered Michelle Zauner's Little Big League doesn't mean we can't cover Michelle Zauner's Japanese Breakfast, ya feel me??

LOSING ALBUMS: Forever Is a Feeling by Lucy Dacus (of boygenius); is by My Morning Jacket (featuring Jim James); Lucius by Lucius (featured on RC albums by Harry Styles and War on Drugs, plus countless other RC alumni albums); Send a Prayer My Way by Julien Baker and TORRES (Baker of boygenius); Sinister Grift by Panda Bear (of Animal Collective).

~~~~~~~~~~

ALBUM DETAILS

GENRE: Indie folk, singer-songwriter, indie rock, chamber pop, alt-country, chamber folk

RELEASED: March 21, 2025

LENGTH: 32:30

TRACKLIST:
  1. Here Is Someone
  2. Orlando in Love
  3. Honey Water
  4. Mega Circuit
  5. Little Girl
  6. Leda
  7. Picture Window
  8. Men in Bars (ft. Jeff Bridges)
  9. Winter in LA
  10. Magic Mountain
LYRICS: Genius.com

~~~~~~~~~~

ARTIST DETAILS

PRONOUNS: Zauner uses she/her/hers

ABOUT: Japanese Breakfast is a band, fronted by Michelle Zauner. It originally existed as a side project after her former band Little Big League faded. Zauner left LBL's central location of Philadelphia to return home to Eugene, Oregon in 2014. She was caring for her ill mother at the time, but continued to record music. That music (recorded with her future husband Peter Bradley, whom she met at 12 Steps Down bar in Philly) became Japanese Breakfast's first album. Gradually, the project became a full-band effort; besides Bradley on guitar, it features Deven Craige on bass, and Craig Hendrix on drums and keyboards. But when you say "Japanese Breakfast," people are still mostly referring to Michelle Zauner. Fans sometimes call the band "J-Brekkie." The name comes from a gif that Zauner saw one time, and she thought it would sound "exotic" to Americans. Zauner herself is not Japanese, but she is half-Korean. Zauner's mother passed away in October 2014, and she wrote a book about the experience, Crying in H Mart, which spent 60 weeks on the New York Times hardcover non-fiction bestseller list. Oh gosh, what else? Zauner has a coat room named after her in Union Transfer. J-Brekkie was nominated for Best New Artist at the 2022 Grammys. My uncle's claim to fame is that he's neighbors with the Bradley family, though I don't think J-Brekkie has ever rehearsed in Churchville, PA. If you have any other cool Japanese Breakfast facts, please feel free to share 'em along the way...

DISCOGRAPHY: This is their fourth and most recent album. Psychopomp was the 2016 debut, followed by Soft Sounds from Another Planet in 2017, and the critically acclaimed Jubilee in 2021. They also did a video game soundtrack for a game called Sable.

~~~~~~~~~~

ADDITIONAL INFO

READING SOME SHIT: an April 2025 interview with Interview Magazine

WATCHING SOME SHIT: "Picture Window" on Kimmel

RECORD CLUB CONNECTIONS: The most obvious and purposeful connection has already been named—Michelle Zauner was also the frontwoman for RC alumni Little Big League. Producer Blake Mills also produced Set My Heart on Fire Immediately, plus other music by Fiona Apple and Jim James. The album was released on Dead Oceans, the current home of Khruangbin, Mitski, and Slowdive. Olivia Rodrigo beat Japanese Breakfast for the Best New Artist Grammy.

I'm trying to think if there were any Record Club artists or albums that have anything to do with food, since we're talking breakfast today. What I found was Hot Chocolate, Watermelon Man!, and Meat Wave. The sad women here are as sad as Connie Converse was on How Sad, How Lovely. The Brunettes contrast with The Blonde & Pink Albums and Blondshell. The ampersand makes a triumphant return to RC after Iron & Wine, Love Ire & Song, & Viv & Riley.

MENTIONS ON THE BLOG: Like most of the world, there were mentions of J-Brekkie over the years, but the conversation went into hyperdrive in the post-Jubilee timeline. Prior to that, we had a song on a "morning drinking" playlist, a song that popped up on shuffle, and an honorable mention on a year-end countdown. Then BBBBook Club discussed Crying in H Mart. Zauner also directed a video for Better Oblivion Community Center. Recently, we've had two songs for Song Challenge, and two songs for Monday Morning Mixtapes. They also charted high on PoYB's 2021 rankings for songs and albums. Finally, a song from this album was included on a recent Monthly Playlist.

~~~~~~~~~~

OTHER ALBUMS TO CHECK OUT

LAST WEEK'S ALBUM: Sunny Day Real Estate by Sunny Day Real Estate, and make sure to check out the reviews if you wanna see what we thought of it!

RC@5: We're relistening to the Record Club album we featured exactly five years ago this week. The RC album for this week in 2020 was Empty Country by Empty Country.

SHADOW RECORD CLUB: Each week, I'm exploring a genre of last week's album by listening to one of that genre's top-rated albums. Last week's Sunny Day Real Estate was a Midwest emo album. We're listening this week to Summer Death by Marietta.

NEXT WEEK'S RC ALBUM: In case you need some extra time with an album to write a review for it, you can get a head start on Face Value by Phil Collins!

~~~~~~~~~~

Happy listening, RC family!
Have a great week!

Held Accountable — Day 48


Headed to vacation tomorrow. I still maintain that my goals are twofold. First, no snacking. Two, no sweets. Otherwise, I'm giving myself leeway on worrying about what I'm eating for lunch and dinner. I can't calculate calories when we're out to eat, I just can't. That's depressing, to do that on vacation.

I'm just gonna hold my breath and hope for the best. If I come back and the scale is +5, then I'll work my ass off and get back to where I want to be... before the next vacation, at least.

Saturday, June 21, 2025

A Year of Blind Spots: The Scream

Joe is working through a list of albums that he considers "blind spots," i.e. albums that he's never heard but feels like he should.


The Scream
Siouxsie and the Banshees
1978

What 1001 Albums You Must Hear Before You Die has to say about The Scream by Siouxsie and the Banshees:

Bridging the gap between punk and goth rock, The Scream contains music that combines the DIY ethos of the former with the latter's sense of dark drama.

In the late 1970s, Sioux's sharply cut black hair and pale makeup was rapidly making her a style icon, so it is perhaps surprising that the cover features not her, but eerily beautiful shots of anonymous underwater swimmers. The intended message may have been that this was definitely an all-round quartet collaboration.

On the track "Carcass," the tight interplay between Steve Severin's buoyant bass guitar and Kenny Morris' pounding drum work stand out even more strikingly than Sioux's punchy vocals. This is uncomplicated playing executed smartly and performed with passion. "Helter Skelter," The Scream's sole cover, is given an even more feverish reading than the Beatles' original, while guitarist John McKay's screechy guitar style is on full sonic display on "Metal Postcard (Mittageisen)." The Banshees had already moved on from straightforward punk anger to deal with more complex areas, such as psychological trauma (on "Suburban Relapse" and "Jigsaw Feeling").

On the final two tracks, McKay breaks out his sax and applies appropriate wails to the Banshee mix. The album closes with the dramatic "Switch," a nearly seven-minute micro-epic that unfolds both lyrically and musically like a compelling novella.

The Scream was a declaration of messy elegance for a band that would further explore both messiness and an elegant darkness throughout its successful and influential career.

What Joe has to say about The Scream by Siouxsie and the Banshees:

I don't think I'd ever even heard of Siouxsie Sioux before. Well, no, that's a lie. I've seen headlines on Stereogum with Siouxsie and the Banshees in them, but only because a couple of years ago, Stereogum started to chronicle every Billboard Alt-Rock #1, and Siouxsie had a few (including the very first #1 on that chart's inaugural edition). It's interesting going back and reading a couple of those columns. The answer as to why I'd never heard of Siouxsie and the Banshees was made clear from the very first one: the band broke late in America.

Late enough that we Americans completely ignored The Scream when it dropped (and I use "we" sarcastically, since The Scream was almost a decade old when I was born). But they were pretty big stars in the U.K. They had a lot of Top 10 hits over there before they had any hits at all over here. I've traditionally had a tough time with U.K.-popular bands in this blog column, but Siouxsie and the Banshees don't seem to fit in any boxes, let alone a box with fucking XTC.

The blurb hits the nail on the head when it says "this is uncomplicated playing executed smartly and performed with passion." The "passion" part is probably the truest. I had a tough time with a lot of this album. Some of it just seemed like noise being held together by the charismatic presence and voice of its frontwoman. The passion is definitely there, though. I hear the loud guitars, and while I don't hear melody, I hear passion, and energy, and that makes me feel pretty good anyway.

You hate for the cover song to be the standout on any album, but their version of "Helter Skelter" really does stand out. I feel like I'm too used to the Beatles' version. Siouxsie shook me from my nap and made me realize what a powerhouse song that is, in anyone's hands. In her hands, though? "Ain't no fuckin' dancer!" is the lyric-change of the century, goddamn. Maybe that doesn't seem as shocking now, here in 2025, to add the f-bomb to a Beatles song. When I feel emotion during that song, I think it's the energy rippling over the decades to get to me. Not shocking now, but probably shocking 50 years ago! And only ten years after "Helter Skelter" was released originally!

One can probably apply that idea to the entire album. Something new and brash and exciting at the moment of its release, but that maybe doesn't have the staying power to make it all the way to my ears in the same way. That's okay. We're tracking albums that are important. I'm told this is important. I've seen the name around. They had some hits. They just aren't a hit to me personally. But the who the fuck am I?