1. (What's The Story) Morning Glory? - Oasis
Listening to this takes me back to ELEMENTARY SCHOOL, in the best possible way. Me, in my living room, listening to "Wonderwall" on the 5-disc CD player [at that point, incredibly advanced technology] at max volume, singing at the top of my lungs into a remote control that served as a makeshift microphone. It was always "Wonderwall," immediately followed by "Don't Look Back In Anger," just those two songs on a loop. Occasionally would skip to "Champagne Supernova." For the most part, though, didn't care about the rest of the album. I'm just now rediscovering it, and it's just fantastic. "She's Electric" is so damn catchy, it's sick. And, of course, the three songs I loved so much 10 years ago, I still love now. More than 10 years later, and I still love it.
2. Black Sheep Boy - Okkervil River
FINALLY downloaded this album this week. Ever since I bought and became obsessed with The Stage Names over the summer, I've been meaning to get this. I finally have it, and I just can't stop listening to it. I think that when it's all said and done, I'll prefer this album to Stage Names. Can't say that for sure yet, because I haven't given Black Sheep Boy enough listens yet to give a fair judgment, but that's my prediction. This album is gorgeous, just absolutely gorgeous. Right now I'm feeling "Black" and "A Stone." All of the tracks are amazing, though. Now I want the rest of their albums, too.
3. Crooked Rain, Crooked Rain - Pavement
Hooray, 90s! Another 90s album, although this one is more of a "classic" than Oasis', I suppose. Whatever, they're both great. But Pavement, I feel like they have such a legacy that it's been very hard for me to really get it. I should have started with Slanted, but I started here for some reason. I really like it. It's kind of hard for me, though, because listening to them, their sound isn't that different from other bands I've heard. They sound great, but it's not necessarily unique. But then I put it into context, and think about when they put these records out, what, 15 years ago? And then I'm like yeah, OK, I can see how they were pioneers for indie rock. Nobody sounded like this 15 years ago. So yeah, I can see it, and that's pretty cool. Regardless, this album's great - "Elevate Me Later" continues to be incredible to me. And I can't wait to listen to the other albums after I wear this one out some more.
Actually, I think that's it. I was trying to think of another one, but honestly, it's just been these. Which I have no problem with, because I've really been into them. And I'd recommend all three of these to anyone who hasn't heard them before, definitely.
C'est tout!
Saturday, November 24, 2007
Monday, November 19, 2007
Politics of the Veil
Joan Scott came to UK a couple weeks ago; here's the news story about it on UK's website:
Gender Theorist Joan Scott to Speak
LEXINGTON, Ky. (Nov. 2, 2007) − Internationally known gender theorist Joan Scott visits the University of Kentucky as the Committee on Social Theory 2007 Distinguished Visiting Author, Nov. 8 and 9. While on campus Scott will lecture on two topics. Her first presentation, "Cover-up: French Gender Equality and the Islamic Headscarf," will be held at 4 p.m., Thursday, Nov. 8. In her second talk at 2 p.m. Friday, Nov. 9, Scott will speak on "Academic Freedom in Danger, or Anti-Intellectualism in American Life Revisited."
Joan Scott is known for writings that theorize gender as an analytic category. She is a leading figure in the emerging field of critical history. Her work has challenged the foundations of conventional historical practice, including the nature of historical evidence and historical experience and the role of narrative in the writing of history, and has contributed to a transformation of the field of intellectual history. Scott’s books focus on gender and democratic politics. They include "Gender and the Politics of History" (1988), "Only Paradoxes to Offer: French Feminists and the Rights of Man" (1996), and "Parité: Sexual Equality and the Crisis of French Universalism" (2005). Princeton University Press has just published "The Politics of the Veil." Scott is currently the Harold F. Linder Professor in the School of Social Science at the Institute for Advanced Study in Princeton, N.J.
Prompted by my French professor, I attended the Thursday lecture about the Veil Law that was passed in France in 2004, promoting secularity by banning "conspicuous religious symbols" in public schools.
Instead of examining the law as an infringement on religious freedom, she revealed the latent sexual context of the veil and provided a stunning argument for the real motivation behind the law.
I had never considered the veil law from a sexual perspective. The first things that come to mind when this topic is brought up are religious freedom, cultural differences and tension, etc. Scott took a different tack; she confronted subtleties in French tradition and culture that are easy to look over, but which should definitely be considered when studying this law and its aftermath.
What I learned:
The French Republican view of sexuality contrasts the Muslim view. The French are almost overtly sexual. In fact, the Marianne, who is the symbol for the French republic, is always shown with her breasts uncovered, which I thought was an interesting tidbit. Nudity is prevalent in French advertising, entertainment, media, etc. It's everywhere. The French believe that sexuality should be open, not hidden, and freely expressed and embraced. Moreover, sexuality should not be feared, and it should not be made complicated.
The veil, then, completely goes against all of that. One would think that a veil would denote modesty, which it is supposed to do in Muslim culture, but the French don't perceive it that way. To the French, the veil is like a glaring reminder of how the Muslim view of sexuality contrasts the French view. So in that way, the veil is "conspicuous," in that it makes Muslim women stand out.
For the French, this is a blatant disruption of core French Rebuplican values. It's as if the Muslim women are wearing the veil simply to stir things up. This disruption, of course, is undesirable and incredibly threatening. I think they see it as a "fuck you" to the French Republic, which is not at all the purpose of the veil.
And if you do consider it from a religious perspective, it's difficult, as Americans, to not find this law ridiculous - we see it as a violation of First Amendment rights. But consider the foundations of the American republic versus those of the French Republic. Our country is founded on religious freedom - that's the reason we came here in the first place, to be able to practice religion freely. Freedom of religion is a right defended by the First Amendment, so theoretically, the state cannot interfere with that. Anyone can practice any religion they want, and everyone should do so.
It's different in France. The French Republic was founded on the idea of protecting the people FROM religion. They wanted to change the old monarchial system of declaring a "standard" religion; instead, they wanted to protect people from pressure to subscribe to any religion. Instead of promoting religious expression, the French Republic protects its people by trying to diminish it. Therefore, the veil could be seen as a kind of pressure, and again, a disruption.
When you consider the issue from the French point of view, then, it's easier to understand. That doesn't make it right, but it is easier to understand where they are coming from. I was talking to my professor about this, and he told me that one of his French friends put it like this:"Imagine trying to talk to a classmate who had a swatzika stamped on his forehead. Would you be able to engage in an objective, intellectual conversation with that person? That's how we feel about the veil."
Now I doubt that this friend of my professor's is a bad guy. It's all a matter of perspective, so certainly the French can, to an extent, defend their position here. When it comes down to it, though, if it's a question of right and wrong, I think ultimately the veil law is wrong. And I think a lot of French people agree that it's wrong. But hey, that might just be the American in me.
Gender Theorist Joan Scott to Speak
LEXINGTON, Ky. (Nov. 2, 2007) − Internationally known gender theorist Joan Scott visits the University of Kentucky as the Committee on Social Theory 2007 Distinguished Visiting Author, Nov. 8 and 9. While on campus Scott will lecture on two topics. Her first presentation, "Cover-up: French Gender Equality and the Islamic Headscarf," will be held at 4 p.m., Thursday, Nov. 8. In her second talk at 2 p.m. Friday, Nov. 9, Scott will speak on "Academic Freedom in Danger, or Anti-Intellectualism in American Life Revisited."
Joan Scott is known for writings that theorize gender as an analytic category. She is a leading figure in the emerging field of critical history. Her work has challenged the foundations of conventional historical practice, including the nature of historical evidence and historical experience and the role of narrative in the writing of history, and has contributed to a transformation of the field of intellectual history. Scott’s books focus on gender and democratic politics. They include "Gender and the Politics of History" (1988), "Only Paradoxes to Offer: French Feminists and the Rights of Man" (1996), and "Parité: Sexual Equality and the Crisis of French Universalism" (2005). Princeton University Press has just published "The Politics of the Veil." Scott is currently the Harold F. Linder Professor in the School of Social Science at the Institute for Advanced Study in Princeton, N.J.
Prompted by my French professor, I attended the Thursday lecture about the Veil Law that was passed in France in 2004, promoting secularity by banning "conspicuous religious symbols" in public schools.
Instead of examining the law as an infringement on religious freedom, she revealed the latent sexual context of the veil and provided a stunning argument for the real motivation behind the law.
I had never considered the veil law from a sexual perspective. The first things that come to mind when this topic is brought up are religious freedom, cultural differences and tension, etc. Scott took a different tack; she confronted subtleties in French tradition and culture that are easy to look over, but which should definitely be considered when studying this law and its aftermath.
What I learned:
The French Republican view of sexuality contrasts the Muslim view. The French are almost overtly sexual. In fact, the Marianne, who is the symbol for the French republic, is always shown with her breasts uncovered, which I thought was an interesting tidbit. Nudity is prevalent in French advertising, entertainment, media, etc. It's everywhere. The French believe that sexuality should be open, not hidden, and freely expressed and embraced. Moreover, sexuality should not be feared, and it should not be made complicated.
The veil, then, completely goes against all of that. One would think that a veil would denote modesty, which it is supposed to do in Muslim culture, but the French don't perceive it that way. To the French, the veil is like a glaring reminder of how the Muslim view of sexuality contrasts the French view. So in that way, the veil is "conspicuous," in that it makes Muslim women stand out.
For the French, this is a blatant disruption of core French Rebuplican values. It's as if the Muslim women are wearing the veil simply to stir things up. This disruption, of course, is undesirable and incredibly threatening. I think they see it as a "fuck you" to the French Republic, which is not at all the purpose of the veil.
And if you do consider it from a religious perspective, it's difficult, as Americans, to not find this law ridiculous - we see it as a violation of First Amendment rights. But consider the foundations of the American republic versus those of the French Republic. Our country is founded on religious freedom - that's the reason we came here in the first place, to be able to practice religion freely. Freedom of religion is a right defended by the First Amendment, so theoretically, the state cannot interfere with that. Anyone can practice any religion they want, and everyone should do so.
It's different in France. The French Republic was founded on the idea of protecting the people FROM religion. They wanted to change the old monarchial system of declaring a "standard" religion; instead, they wanted to protect people from pressure to subscribe to any religion. Instead of promoting religious expression, the French Republic protects its people by trying to diminish it. Therefore, the veil could be seen as a kind of pressure, and again, a disruption.
When you consider the issue from the French point of view, then, it's easier to understand. That doesn't make it right, but it is easier to understand where they are coming from. I was talking to my professor about this, and he told me that one of his French friends put it like this:"Imagine trying to talk to a classmate who had a swatzika stamped on his forehead. Would you be able to engage in an objective, intellectual conversation with that person? That's how we feel about the veil."
Now I doubt that this friend of my professor's is a bad guy. It's all a matter of perspective, so certainly the French can, to an extent, defend their position here. When it comes down to it, though, if it's a question of right and wrong, I think ultimately the veil law is wrong. And I think a lot of French people agree that it's wrong. But hey, that might just be the American in me.
Friday, November 16, 2007
Songs of the Week
1. Heaven - Club 8
Yummy Swedish pop. Their new album, The Boy Who Couldn't Stop Dreaming, is a delight.
2. Jigsaw Falling Into Place - Radiohead
First single from In Rainbows, and one of the strongest tracks on the album.
3. Sunrise - Yeasayer
Just getting acquainted with Yeasayer. Hearkens TV on the Radio, who are better, but this is still a great song.
4. No One - Alicia Keys
Mama, that girl can belt one out. I've always liked her, and I can't stop listening to this single. It's everywhere, though, so I hope I don't get sick of it.
5. We Share Our Mother's Health - The Knife
One of the many fabulous songs from the fabulous 2006 Silent Shout. I need to get the rest of that album.
6. Roc Boys (The Winner Is...) - Jay-Z
This song is fun. I've heard American Gangster a couple times through and it's pretty slammin'.
Also, releases I'm looking forward to:
Lupe Fiasco - December 18
In Rainbows (!!!!) - January 1
LOST Season 3 DVD - December 11 (not at all music, but still)
...there are more but right now I'm at a loss.
C'est tout!
Yummy Swedish pop. Their new album, The Boy Who Couldn't Stop Dreaming, is a delight.
2. Jigsaw Falling Into Place - Radiohead
First single from In Rainbows, and one of the strongest tracks on the album.
3. Sunrise - Yeasayer
Just getting acquainted with Yeasayer. Hearkens TV on the Radio, who are better, but this is still a great song.
4. No One - Alicia Keys
Mama, that girl can belt one out. I've always liked her, and I can't stop listening to this single. It's everywhere, though, so I hope I don't get sick of it.
5. We Share Our Mother's Health - The Knife
One of the many fabulous songs from the fabulous 2006 Silent Shout. I need to get the rest of that album.
6. Roc Boys (The Winner Is...) - Jay-Z
This song is fun. I've heard American Gangster a couple times through and it's pretty slammin'.
Also, releases I'm looking forward to:
Lupe Fiasco - December 18
In Rainbows (!!!!) - January 1
LOST Season 3 DVD - December 11 (not at all music, but still)
...there are more but right now I'm at a loss.
C'est tout!
Sunday, November 11, 2007
Comments
I've changed the setting on here so that whenever someone makes a comment, I'm notified by e-mail. So now I'll hopefully see your comments a lot sooner and will be able to react quicker to them. I'm just excited that people are reading my blog. Even if it's only 3 people. 3 > 0.
C'est tout!
C'est tout!
Sunday, November 4, 2007
In Rainbows, cont'd (again)
The remainder of the review, as promised...
6. Faust ARP
Serves as a transition track of sorts, but it shouldn't be disregarded or breezed through. The string composition on this track, props Jonny Greenwood, is exquisite. Layered with the sweetly understated acoustic guitar, plus Thom Yorke's rhythmic, not-quite-singing pseudo-rap, this track is quietly beautiful.
Key lyric: I love you/but enough is enough/there's no real reason
Mood: Revelatory
7. Reckoner
One of the most layered, complex tracks on the album. The tambourine/cymbal percussion + guitar riff a la Chili Peppers provide the beat. The vocals, consisting of Yorke's high, liquid-like utterances, complemented by distant oohhs and aahhhs which come to the foreground in the bridge, create an eerie, haunted effect. During the bridge, the icy, ghostly vocals are penetrated by the deep, warm honey of the violin. The cold-warm juxtaposition completes the song, and the ensuing remainder of the track is perfection. The strings endure for the rest of the song, and are highlighted again in the last 30 seconds of the track, ending this song which started icy on a warm note, yet the haunted feeling remains. Subtly layered throughout, with such precision that the end result is flawless.
Key lyric: You were not to blame for/bittersweet distractors
Mood: Pensive
8. House of Cards
This track and All I Need are songs that you have sex to. It's true. They're sexy. The lyrics say it all in this song. Yorke sings about being your lover, denial, falling off the table, getting swept under, etc. etc. You get the idea. It's a great song to listen to, but I can't help but think about sex when it's on, so I get distracted. The track's driven by a cute lil' guitar riff (again, a la Chili Peppers, it seems to me), along with insect-like clicks in the background that occur every so often. Plus, throughout the whole song, it sounds like there's wind tumbling through amidst the rest of the sounds. It comes charging in and roars for a few seconds, then slowly fades away, then comes back in, then fades. It's beautiful. There are other little subtle variances, which are great, but again, even as I'm listening to the song right now to find things to write about it, I can't concentrate. Because this song=sex. Sorry.
Key lyric: I don't want to be your friend/I just want to be your lover
Mood: Lustful (SEX)
9. Jigsaw Falling Into Place
Hmm. What to say about this song. It's up there with 15 Step and Bodysnatchers as the most upbeat tracks on the album. Again, eerie ooh-ing, this time more pronounced, as if Yorke is actually being chased by an entire fleet of assorted evil spirits. This track truly builds to a clear climax, which occurs about 40 seconds before the end of the song. Like Bodysnatchers, you can sense paranoia here. But while Bodysnatchers asserts itself from the get-go, Jigsaw builds up to it, until the tension has reached its pinnacle and it's about to explode everywhere. But it never really does. Yes, the song climaxes (near-orgasmically), but it never explodes. Both Bodysnatchers and Jigsaw clearly express worry and anxiety, but the raw, rock-out explosion of Bodysnatchers is not nearly distressing as the controlled panic of Jigsaw.
Key lyric: Wish away the nightmare/You've got a light/You can feel it on your back
Mood: Terrified
10. Videotape
Without a doubt, the most unsettling song on this record. If you listen to the lyrics, you can deduce pretty easily that this song is a suicide note. And he mentions Mephistopheles, which = Satan, which = Hell. Accordingly, the sounds are creepy, creepy, CREEPY. It never picks up, never slows down, just stays at the same, steady tempo, led by the four-note piano that introduces the track. Those four notes are disquieting enough, but then the mysterious who-knows-what-it-is wind-like machine comes in with the off-putting beat of the snare drum, and this song becomes truly strange and, frankly, scary as shit. If you're about to jump off a building, or slit your wrists, put this on, along with Gary Jules' "Mad World." There you go. There's your Suicide Mix, those two songs. Don't get me wrong - this song is pretty close to perfect. It leaves you with chills, doubts, fears, maybe even tears. In this way, Videotape stands out on this record, amongst all of the other songs that feel so familiar, easy, smooth. The two-song closer of Jigsaw and Videotape create quite the unsettling little combo, and they make you perk up and go, whoa. What just happened? Where am I? What am I doing here? And the end of the album is exactly where Videotape should be. There would not be a better closing track than this song.
Key lyric: This is one for the good days/and I have it all here/in red, blue, green
Mood: (not really a mood but it's the best way to say it) Final
IN RAINBOWS:
Overall feel: Familiar, smooth, simple, subtle
Overall review: 9.7/10
Overall ranking amidst other Radiohead: As of right now, it's #2, right under OK Computer. But I need to listen more to Kid A.
In summary, go download In Rainbows. It's the most gorgeous chunk of music I've heard in some time. Radiohead were already legends, and with the release of this album, they've shown that they still are and will go down in music history, without a doubt. HOORAY for good music!
C'est tout.
6. Faust ARP
Serves as a transition track of sorts, but it shouldn't be disregarded or breezed through. The string composition on this track, props Jonny Greenwood, is exquisite. Layered with the sweetly understated acoustic guitar, plus Thom Yorke's rhythmic, not-quite-singing pseudo-rap, this track is quietly beautiful.
Key lyric: I love you/but enough is enough/there's no real reason
Mood: Revelatory
7. Reckoner
One of the most layered, complex tracks on the album. The tambourine/cymbal percussion + guitar riff a la Chili Peppers provide the beat. The vocals, consisting of Yorke's high, liquid-like utterances, complemented by distant oohhs and aahhhs which come to the foreground in the bridge, create an eerie, haunted effect. During the bridge, the icy, ghostly vocals are penetrated by the deep, warm honey of the violin. The cold-warm juxtaposition completes the song, and the ensuing remainder of the track is perfection. The strings endure for the rest of the song, and are highlighted again in the last 30 seconds of the track, ending this song which started icy on a warm note, yet the haunted feeling remains. Subtly layered throughout, with such precision that the end result is flawless.
Key lyric: You were not to blame for/bittersweet distractors
Mood: Pensive
8. House of Cards
This track and All I Need are songs that you have sex to. It's true. They're sexy. The lyrics say it all in this song. Yorke sings about being your lover, denial, falling off the table, getting swept under, etc. etc. You get the idea. It's a great song to listen to, but I can't help but think about sex when it's on, so I get distracted. The track's driven by a cute lil' guitar riff (again, a la Chili Peppers, it seems to me), along with insect-like clicks in the background that occur every so often. Plus, throughout the whole song, it sounds like there's wind tumbling through amidst the rest of the sounds. It comes charging in and roars for a few seconds, then slowly fades away, then comes back in, then fades. It's beautiful. There are other little subtle variances, which are great, but again, even as I'm listening to the song right now to find things to write about it, I can't concentrate. Because this song=sex. Sorry.
Key lyric: I don't want to be your friend/I just want to be your lover
Mood: Lustful (SEX)
9. Jigsaw Falling Into Place
Hmm. What to say about this song. It's up there with 15 Step and Bodysnatchers as the most upbeat tracks on the album. Again, eerie ooh-ing, this time more pronounced, as if Yorke is actually being chased by an entire fleet of assorted evil spirits. This track truly builds to a clear climax, which occurs about 40 seconds before the end of the song. Like Bodysnatchers, you can sense paranoia here. But while Bodysnatchers asserts itself from the get-go, Jigsaw builds up to it, until the tension has reached its pinnacle and it's about to explode everywhere. But it never really does. Yes, the song climaxes (near-orgasmically), but it never explodes. Both Bodysnatchers and Jigsaw clearly express worry and anxiety, but the raw, rock-out explosion of Bodysnatchers is not nearly distressing as the controlled panic of Jigsaw.
Key lyric: Wish away the nightmare/You've got a light/You can feel it on your back
Mood: Terrified
10. Videotape
Without a doubt, the most unsettling song on this record. If you listen to the lyrics, you can deduce pretty easily that this song is a suicide note. And he mentions Mephistopheles, which = Satan, which = Hell. Accordingly, the sounds are creepy, creepy, CREEPY. It never picks up, never slows down, just stays at the same, steady tempo, led by the four-note piano that introduces the track. Those four notes are disquieting enough, but then the mysterious who-knows-what-it-is wind-like machine comes in with the off-putting beat of the snare drum, and this song becomes truly strange and, frankly, scary as shit. If you're about to jump off a building, or slit your wrists, put this on, along with Gary Jules' "Mad World." There you go. There's your Suicide Mix, those two songs. Don't get me wrong - this song is pretty close to perfect. It leaves you with chills, doubts, fears, maybe even tears. In this way, Videotape stands out on this record, amongst all of the other songs that feel so familiar, easy, smooth. The two-song closer of Jigsaw and Videotape create quite the unsettling little combo, and they make you perk up and go, whoa. What just happened? Where am I? What am I doing here? And the end of the album is exactly where Videotape should be. There would not be a better closing track than this song.
Key lyric: This is one for the good days/and I have it all here/in red, blue, green
Mood: (not really a mood but it's the best way to say it) Final
IN RAINBOWS:
Overall feel: Familiar, smooth, simple, subtle
Overall review: 9.7/10
Overall ranking amidst other Radiohead: As of right now, it's #2, right under OK Computer. But I need to listen more to Kid A.
In summary, go download In Rainbows. It's the most gorgeous chunk of music I've heard in some time. Radiohead were already legends, and with the release of this album, they've shown that they still are and will go down in music history, without a doubt. HOORAY for good music!
C'est tout.
Playlists
October:
1. Winter Wonder Land - Animal Collective
2. Is There A Ghost - Band of Horses
3. Cell Phone's Dead - Beck
4. Disaster - The Besnard Lakes
5. Here Comes The Summer - Fiery Furnaces
6. I Am Trying To Break Your Heart - Wilco
7. On A Neck, On A Spit - Grizzly Bear
8. Come Back Margaret - Camera Obscura
9. Your Arms Around Me - Jens Lekman
10. I Am Leaving You Because I Don't Love You - Jens Lekman
11. 1 2 3 4 - Feist
12. Teardrop (cover) - Jose Gonzalez
13. Reckoner - Radiohead
14. Bodysnatchers - Radiohead
15. I'm Not Gonna Teach Your Boyfriend How To Dance With You - Black Kids
16. Hurricane Jane - Black Kids
17. Winged/Wicked Things - Sunset Rubdown
18. The Night Starts Here - Stars
19. Good Life - Kanye West
20. Flashing Lights - Kanye West
This week:
1. Silly Crimes - The Tough Alliance
2. Pillar of Salt - The Thermals
3. Black Like Me - Spoon
4. Dirty Knife - Neko Case
5. All I Need - Radiohead
6. Ex-Guru - Fiery Furnaces
C'est tout.
1. Winter Wonder Land - Animal Collective
2. Is There A Ghost - Band of Horses
3. Cell Phone's Dead - Beck
4. Disaster - The Besnard Lakes
5. Here Comes The Summer - Fiery Furnaces
6. I Am Trying To Break Your Heart - Wilco
7. On A Neck, On A Spit - Grizzly Bear
8. Come Back Margaret - Camera Obscura
9. Your Arms Around Me - Jens Lekman
10. I Am Leaving You Because I Don't Love You - Jens Lekman
11. 1 2 3 4 - Feist
12. Teardrop (cover) - Jose Gonzalez
13. Reckoner - Radiohead
14. Bodysnatchers - Radiohead
15. I'm Not Gonna Teach Your Boyfriend How To Dance With You - Black Kids
16. Hurricane Jane - Black Kids
17. Winged/Wicked Things - Sunset Rubdown
18. The Night Starts Here - Stars
19. Good Life - Kanye West
20. Flashing Lights - Kanye West
This week:
1. Silly Crimes - The Tough Alliance
2. Pillar of Salt - The Thermals
3. Black Like Me - Spoon
4. Dirty Knife - Neko Case
5. All I Need - Radiohead
6. Ex-Guru - Fiery Furnaces
C'est tout.
All-Time Favorite Songs
I've been working on compiling a list of my favorite songs of all time. Eventually, I want to be able to condense it to 20, and from there, to a top 10. I've made a CD of some of them, Volume 1 of my faves. Here's what made it to Vol. 1:
1. Masterfade - Andrew Bird
2. Intervention - Arcade Fire
3. God Only Knows - The Beach Boys
4. Shiver - Coldplay
5. Certain Things You Ought To Know - Destroyer
6. Keep It Together - Guster
7. The Moment I Said It - Imogen Heap
8. Schindler's List theme - Itzhak Perlman
9. Lover, You Should've Come Over - Jeff Buckley
10. Maple Leaves (7" Version) - Jens Lekman
11. River- Joni Mitchell
12. Star Witness - Neko Case
13. In The Aeroplane Over The Sea - Neutral Milk Hotel
14. On Your Side - Pete Yorn
15. Let Down - Radiohead
16. Across The Universe (Beatles cover) - Rufus Wainwright
17. The Only Living Boy in New York - Simon and Garfunkel
18. Black Like Me - Spoon
So there's the first disc o' faves. More contenders:
Here, There and Everywhere - The Beatles
I Want You Back - Jackson 5
Ain't No Mountain High Enough - Marvin Gaye and Tammi Terrell
Tuesday Afternoon - The Moody Blues
Layla - Derek and the Dominoes
Come Pick Me Up - Ryan Adams
Bohemian Rhapsody - Queen
Walking on Broken Glass - Annie Lennox
Heartbeats - The Knife
Here Comes The Summer - Fiery Furnaces
Grace's Amazing Hands - Dave Barnes
Daft Punk is Playing at My House - LCD Soundsystem
Pull Shapes - The Pipettes
What Else Is There? - Royksopp
Trill - Clipse
What You Know - T.I.
And, of course, my favorite artists appear more than once:
Jeff Buckley - Lover...(Vol. 1), Hallelujah, Last Goodbye
Coldplay - Shiver (Vol. 1), Yellow, Swallowed in the Sea
Neko Case - Star Witness (Vol. 1), Runnin' Out Of Fools
The Beatles - Here, There and Everywhere, Yesterday, In My Life
Radiohead - Let Down (Vol. 1), There There, How To Disappear Completely, Black Star, I Might Be Wrong, True Love Waits, All I Need
But I'm not sure what to do about these yet. It seems redundant to put multiple songs by the same artist. Especially for Radiohead. I don't really need to include all of my favorite Radiohead songs on this list, because Radiohead is just my favorite artist, period. I'll pick two more after Let Down to put on Vols. 2 and 3, but probably only Let Down will appear in the top 20.
So. There it is. Songs from different genres, years, etc. What all of them have in common:
1. Each song is attached to a certain memory, a certain feeling. Many of them have nostalgic value for me. And to most of them I've attached some sort of emotional importance. For example...
Shiver = my anthem to all my high school crushes
...and there are more explanations that are too private to put on a public blog.
2. They are all incredibly comforting to me. Either by making me happy or making me sad, which are both, in their own ways, comforting. For example...
Lover, You Should've Come Over = my go-to crying session song. I'm sad/angry/frustrated/overwhelmed-->Buckley's my man. A perfect song to accompany necessary, long-overdue release of emotion. Also great for this purpose are River, The Moment I Said It, and Black Like Me.
On the flip side, Masterfade, In The Aeroplane Over The Sea, Across The Universe, Keep It Together, Only Living Boy In New York...are songs that comfort me by making me feel safe and happy and peaceful. This is just as important as the sad songs. But I couldn't really live without the happy ones, or without the sad ones. I need both. They balance each other out.
The construction of this list, in itself, has been a comfort to me. I essentially would not be able to function without these songs.
...which brings me to this: I'd like to draw attention to the title of this blog: "All-Time FAVORITE Songs." Not "All-Time BEST Songs." This is not a list of objectively great songs throughout history or anything. It's strictly personal, which means that it's tres, tres subjective. These are my PERSONAL favorites. And the ones that mean the most are the ones whose greatness are probably lost on most "seasoned" music lovers/critics. I like songs because of what they mean to me, to my life, personally. I'm not going to put a song on here just because it was "historically important." And I'm not going to feel bad about excluding certain genres, eras, decades, movements, artists, etc. Fuck that. I'm not a music critic. I'm not writing a fucking article for Rolling Stone titled "The 20 Greatest Rock & Roll Songs Of The Past 50 Years" or some shit like that. Because I don't care about that. I just don't. But I do care about the songs that have kept me company this year, last year, 10 years ago. That's what I care about. Hence, that's what I write about.
So I hope that if anyone reads this, maybe that person will get a better idea of who I am, based on my all-time favorite music. And even if no one reads it, I, at least, learned something about myself in compiling this list. So I feel pretty good about that.
C'est tout.
1. Masterfade - Andrew Bird
2. Intervention - Arcade Fire
3. God Only Knows - The Beach Boys
4. Shiver - Coldplay
5. Certain Things You Ought To Know - Destroyer
6. Keep It Together - Guster
7. The Moment I Said It - Imogen Heap
8. Schindler's List theme - Itzhak Perlman
9. Lover, You Should've Come Over - Jeff Buckley
10. Maple Leaves (7" Version) - Jens Lekman
11. River- Joni Mitchell
12. Star Witness - Neko Case
13. In The Aeroplane Over The Sea - Neutral Milk Hotel
14. On Your Side - Pete Yorn
15. Let Down - Radiohead
16. Across The Universe (Beatles cover) - Rufus Wainwright
17. The Only Living Boy in New York - Simon and Garfunkel
18. Black Like Me - Spoon
So there's the first disc o' faves. More contenders:
Here, There and Everywhere - The Beatles
I Want You Back - Jackson 5
Ain't No Mountain High Enough - Marvin Gaye and Tammi Terrell
Tuesday Afternoon - The Moody Blues
Layla - Derek and the Dominoes
Come Pick Me Up - Ryan Adams
Bohemian Rhapsody - Queen
Walking on Broken Glass - Annie Lennox
Heartbeats - The Knife
Here Comes The Summer - Fiery Furnaces
Grace's Amazing Hands - Dave Barnes
Daft Punk is Playing at My House - LCD Soundsystem
Pull Shapes - The Pipettes
What Else Is There? - Royksopp
Trill - Clipse
What You Know - T.I.
And, of course, my favorite artists appear more than once:
Jeff Buckley - Lover...(Vol. 1), Hallelujah, Last Goodbye
Coldplay - Shiver (Vol. 1), Yellow, Swallowed in the Sea
Neko Case - Star Witness (Vol. 1), Runnin' Out Of Fools
The Beatles - Here, There and Everywhere, Yesterday, In My Life
Radiohead - Let Down (Vol. 1), There There, How To Disappear Completely, Black Star, I Might Be Wrong, True Love Waits, All I Need
But I'm not sure what to do about these yet. It seems redundant to put multiple songs by the same artist. Especially for Radiohead. I don't really need to include all of my favorite Radiohead songs on this list, because Radiohead is just my favorite artist, period. I'll pick two more after Let Down to put on Vols. 2 and 3, but probably only Let Down will appear in the top 20.
So. There it is. Songs from different genres, years, etc. What all of them have in common:
1. Each song is attached to a certain memory, a certain feeling. Many of them have nostalgic value for me. And to most of them I've attached some sort of emotional importance. For example...
Shiver = my anthem to all my high school crushes
...and there are more explanations that are too private to put on a public blog.
2. They are all incredibly comforting to me. Either by making me happy or making me sad, which are both, in their own ways, comforting. For example...
Lover, You Should've Come Over = my go-to crying session song. I'm sad/angry/frustrated/overwhelmed-->Buckley's my man. A perfect song to accompany necessary, long-overdue release of emotion. Also great for this purpose are River, The Moment I Said It, and Black Like Me.
On the flip side, Masterfade, In The Aeroplane Over The Sea, Across The Universe, Keep It Together, Only Living Boy In New York...are songs that comfort me by making me feel safe and happy and peaceful. This is just as important as the sad songs. But I couldn't really live without the happy ones, or without the sad ones. I need both. They balance each other out.
The construction of this list, in itself, has been a comfort to me. I essentially would not be able to function without these songs.
...which brings me to this: I'd like to draw attention to the title of this blog: "All-Time FAVORITE Songs." Not "All-Time BEST Songs." This is not a list of objectively great songs throughout history or anything. It's strictly personal, which means that it's tres, tres subjective. These are my PERSONAL favorites. And the ones that mean the most are the ones whose greatness are probably lost on most "seasoned" music lovers/critics. I like songs because of what they mean to me, to my life, personally. I'm not going to put a song on here just because it was "historically important." And I'm not going to feel bad about excluding certain genres, eras, decades, movements, artists, etc. Fuck that. I'm not a music critic. I'm not writing a fucking article for Rolling Stone titled "The 20 Greatest Rock & Roll Songs Of The Past 50 Years" or some shit like that. Because I don't care about that. I just don't. But I do care about the songs that have kept me company this year, last year, 10 years ago. That's what I care about. Hence, that's what I write about.
So I hope that if anyone reads this, maybe that person will get a better idea of who I am, based on my all-time favorite music. And even if no one reads it, I, at least, learned something about myself in compiling this list. So I feel pretty good about that.
C'est tout.
Thursday, November 1, 2007
Huh?
I've realized a few things:
1) My dog is weird. Every day when I come home, she greets me, then she grabs a toy and runs upstairs and waits for me at my bedroom door. When I go into my room, she jumps on the bed with the toy, sits there for a couple seconds, then gets off the bed, leaves the room, runs back downstairs, and lies down on the couch. This is a daily event. The same thing. Every day. I don't think I get it.
2) I've decided that my favorite track off In Rainbows is definitely "All I Need". That song gives me all kinds of chills. Everything about it is gorgeous perfection. I just love it. I listened to it over and over again today, and almost cried. It's that good. I love it.
3) If people keep asking me what I'm going to do with my life, eventually I'm going to have to have an answer for them. I'm sick of the "::sigh:: I have no idea! All I can focus on is getting to France next semester!" I don't think there should be anything wrong with that, but it doesn't seem to be good enough. But it's just the truth. All I want to do is look forward to France, that's all. I can't be worrying about what will happen when I get back. So I guess anyone who wants to know, ya know, I really can't tell ya. So suck it.
4) Fountains + trees = makes me happy, so I'm glad that Aix has a lot of both of those.
5) I've become so invested in Jim and Pam's romance on The Office, as in I live vicariously through them, that I think if they break up, I will spiral into an even deeper depression. It's dangerous.
6) Crap TV = soooooo comforting, especially late at night. Important: I am not creating a link here between crap TV and The Office. The Office is not crap TV. What IS, however, is A Shot at Love with Tila Tequila. Also, dammit all, those kids on Smallville can't act to save their lives, but goddammit that show is FABULOUS. Besides, there are no sports on right now, what else can I do?
7) Speaking of sports--baseball. Never in my life would I have thought that I could get into baseball. And then, this postseason, I became completely obsessed with the playoffs, ALCS, NLCS, and the World Series. I was addicted. True, I was influenced by my friend to give it a chance. But I'm really glad that I did, because it is endlessly entertaining. Especially in the postseason when it becomes increasingly more exciting with each game. I really like it, and it just goes to show that everything should be given a fair chance. And when sports are good, there's just nothing better.
8) Also sports-related, Jodie Meeks = my husband. Judging by his performance against Pikeville, I think he's headed for an amazing season. Alls I'm sayin' is, I called it. I called it when I liked him at the beginning of last season, when no one else noticed him, when he was starting to get shit done on the court. I'm just sayin'.
9) This video is essential for my life...
Perfect Dating Video
...and should be essential for yours too.
C'est tout.
1) My dog is weird. Every day when I come home, she greets me, then she grabs a toy and runs upstairs and waits for me at my bedroom door. When I go into my room, she jumps on the bed with the toy, sits there for a couple seconds, then gets off the bed, leaves the room, runs back downstairs, and lies down on the couch. This is a daily event. The same thing. Every day. I don't think I get it.
2) I've decided that my favorite track off In Rainbows is definitely "All I Need". That song gives me all kinds of chills. Everything about it is gorgeous perfection. I just love it. I listened to it over and over again today, and almost cried. It's that good. I love it.
3) If people keep asking me what I'm going to do with my life, eventually I'm going to have to have an answer for them. I'm sick of the "::sigh:: I have no idea! All I can focus on is getting to France next semester!" I don't think there should be anything wrong with that, but it doesn't seem to be good enough. But it's just the truth. All I want to do is look forward to France, that's all. I can't be worrying about what will happen when I get back. So I guess anyone who wants to know, ya know, I really can't tell ya. So suck it.
4) Fountains + trees = makes me happy, so I'm glad that Aix has a lot of both of those.
5) I've become so invested in Jim and Pam's romance on The Office, as in I live vicariously through them, that I think if they break up, I will spiral into an even deeper depression. It's dangerous.
6) Crap TV = soooooo comforting, especially late at night. Important: I am not creating a link here between crap TV and The Office. The Office is not crap TV. What IS, however, is A Shot at Love with Tila Tequila. Also, dammit all, those kids on Smallville can't act to save their lives, but goddammit that show is FABULOUS. Besides, there are no sports on right now, what else can I do?
7) Speaking of sports--baseball. Never in my life would I have thought that I could get into baseball. And then, this postseason, I became completely obsessed with the playoffs, ALCS, NLCS, and the World Series. I was addicted. True, I was influenced by my friend to give it a chance. But I'm really glad that I did, because it is endlessly entertaining. Especially in the postseason when it becomes increasingly more exciting with each game. I really like it, and it just goes to show that everything should be given a fair chance. And when sports are good, there's just nothing better.
8) Also sports-related, Jodie Meeks = my husband. Judging by his performance against Pikeville, I think he's headed for an amazing season. Alls I'm sayin' is, I called it. I called it when I liked him at the beginning of last season, when no one else noticed him, when he was starting to get shit done on the court. I'm just sayin'.
9) This video is essential for my life...
Perfect Dating Video
...and should be essential for yours too.
C'est tout.
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