Role Call : Modern Man

Related Posts

Part 1 : Primer

Part 2 : Evolution of Man(liness)

Part 4 : Post-Modern Man

Part 5 : Fractured Man

The Modern era of gender roles could mostly likely be traced back to the feminist movement in the U.S. in the 1950s. The first instance of feminist activism was much longer ago and focused the basic rights of women such as suffrage and seem to be indisputable today, whereas the more recent battles focus on cultural issues that are still defining who we are as a society, which is what I want to explore.

Women carved out a level playing field (at least in theory) which in turn shifted our value system in several ways. Although I grew up in areas in the South where sexism (as well as racism) was not shy about showing its face still, I think the groundwork was established. My generation was raised thinking that sexual equality was a natural law.

A balance of power also resulted in an altered family paradigm, which overthrew the idea of a single, unquestioned decision maker in the house. Divorce became more socially acceptable, especially since women were able to go out and support themselves in the workforce. Dysfunction and the fracturing of parental role modeling ensued. (I'm not wanting to give the impression that I'm blaming the breakdown of the nuclear family on feminists. While not the only element, I think it's a strong factor and I'm only devoting these explorations to limited topics. Political upheavals, the aftermath of the war, technological advancement, the discovering or creation of psychological issues were all contributors but won't be touched on in depth here.)

Nonetheless, men had met their match. Just as smart and just as capable. Logic and rational thinking prevailed. No one was inherently better than another, sexually or racially. A true utopia.

Probably the purest form of this was depicted in The Cosby Show. A family unit without any hint of dysfunction. The parents were happily married without any serious power struggles. Each had equal footing in familial authority. Also important was the fact that the wife, Claire, was professionally successful. Cliff was a doctor, but Claire was a lawyer: an occupation that was just as highly regarded. There's no way she'd be caught housecleaning and waiting obediently for her husband to come home and fix him a drink. If anything, a case could be made for Cliff to be more closely associated with the child-rearing role, as his job was a maternity doctor.

I was raised watching this show and it had a vital impact on the shaping of my values. It was also influential to see role models of my formative years siding with women on issues that society was still struggling with. Kurt Cobain sang about rape from the point of view of the victim in Polly. Eddie Vedder feverishly scrawling "PRO-CHOICE" on his arm during a televised performance. I can't tell you what an effect this had on me and hopefully many young people.

My father was the most important element in what kind of man I wanted to become. An attentive dad and a loving husband. He never yelled at or hit my mom. He would joke that she was the boss in the family, but he never showed any genuine signs of inadequacy towards shared leadership in the family environment. A follower of sports and a lover of cars and tools, yet never felt threatened when discussing gardening or accompanying my mom shopping. A truly balanced man in my opinion.

As usual, nothing ever goes one way for too long and we'll see how the pendulum swings as Modernism gives way to Post-Modernism.

I also want to touch on the fact that there are of course always countercultures and underlying constants that exist. I'm talking about sexism that men will probably always exert, probably in the form of beer commercials, until the end of civilization. Whether its Playboy magazine (or to a lesser extent Maxim) or AXE Commercials, their steadfast hold to their value systems will always mask the changes and upheavals that occur elsewhere.

Role Call : The Evolution of Man(liness)

Related Posts

Part 1 : Primer

Part 3 : Modern Man

Part 4 : Post-Modern Man

Part 5 : Fractured Man

Recently, I went on a trip with several friends to a house on the edge of Chesapeake Bay. We barbecued, drank, swam and generally lounged around. Two friends (female) observed that I was reading a book and asked what I was reading. I replied that it was a Virginia Woolf novel and the responses were raised eyebrows and "Wow... a very feminist author."

I was left wondering why there is a stigma for a guy to read a feminist novel, especially if it's not thrust upon him by a girlfriend or a college class. Can I not read a book of poetry by Sylvia Plath and not get crooked glances from people in passing? Can I not admit to being interested in fashion? What if I counter-balance it by saying I'm just as interested in sports? Is it wrong if I have more female friends than guy friends?

Why do we seem to have predisposed notions of what it means to be a man or a woman? And what are those boundaries? How are they formulated and do they have any logical merit?

When I say I used to live in an apartment with three other guys, I get "Oooooooh". But when I expound with the fact that we were all very clean and enjoyed cooking, I get a "Whoa!"

I know there's been countless studies and focus on women, feminism, their roles in society, and justifiably so. I, personally, believe in total gender equality and that women deserve the same respect and rights as men. But I also get that underneath that generality, there are infinite nuances and contradictory values (some self-inflicted) that compose each gender. I don't discount the plight of women, but am just also equally interested in the roles of men and how they've evolved. We may not have had the same sizable obstacles as women, but I feel that men today struggle just as much to discern their identity in society as the "fairer" sex.

That interest was sparked in a college class years ago. Strangely enough in an Introduction to Graphic Design class.

The Man Show had just recently debuted on Comedy Central and was creating plenty of controversy with it's overt sexist subject matter, beer guzzling audience, and costume-wearing female dancers.

I understand the use of satire and that the show's creators probably had their tongues in their cheeks most of the time. But let's not forget that the effect can be lost on much of the public. I don't think many guys were viewing Girls Jumping on Trampolines and appreciating the irony. Some of the time (or most of the time), people will take things at face value. Hell, even today there are people who see Stephen Colbert as the Champion of the Conservative Class.

So my professor kicked off a debate by asking all the guys in the class if they thought today's men were too overt in celebrating their masculinity, citing The Man Show as evidence.

During the discussion, my contention was that the opposite view could be made: that today's men were feeling as if they'd lost their manhood. I referenced the movie, Fight Club which had also just recently been released. In this story, men had lost a sense of empowerment in the world of Martha Stewart and IKEA and were desperately trying to regain something, anything.

Brad Pitt's character stated "We're a generation of men raised by women", meaning that we as a gender have lost our identity.

I also think that the movie (and the book) Fight Club is about much more than men being men, addressing issues such as nihilism or group-think behavior, but in the context of our debate, I still thought it had a valid counterpoint.

Another film at the time, American Beauty also played with the theme of lost masculinity in today's concept of family. Kevin Spacey's character started off thoroughly drained of any vitality and strength. Throughout the film, he begins to reawaken to his potential and break through the restraints that society had gradually imposed upon him.

I also find it interesting that both films focus on fighting back for masculinity and do not resolve in a completely happy note. Unless you count being shot in the head a suitable solution. (Um... spoiler alert by the way.)

I don't recall the debate ending with any seismic revelations. Mostly the girls in the class held on to their denouncement of The Man Show as "disgusting" and "offensive". But something stuck with me from that discussion. I became more conscious of gender roles, especially those subtly imposed on us by media.

My most basic breakdown of the male evolution could be this:

• Primal: man's role as the hunter/gather, providing for himself and his family
• Tradition: social relationships become more complex, though the family unit still operates with the male as the main provider, thus endowing him with the role of the main authority. Otherwise known as the Father Knows Best scenario.
• Modern: social paradigms continue to gain intricacies and complexity. Most notably, women become more empowered and accepted as equals. Male is no longer necessarily the sole or main breadwinner in the family.
• Post-Modern: reactionary response to the Modern state, wherein the male attempts to reclaim the sense of manliness and seat of power. Unapologetic towards overtly male values manifest (i.e. The Man Show, Maxim Magazine, etc.)
• Current: media saturation causes social fragmentation and blurring of defining roles. Men embrace roles that were once deemed negative, such as the manchild (i.e. Will Ferrell in every one of his movies) or the metrosexual.

I realize that I'm shoehorning a lot of human history into some categories, particularly the first two. Thousands of years of human interaction probably deserve more nuanced defining than "Traditional". But again, this is an examination from my own limited perceptions which will be why I devote much more focus on the last few categories.

I believe the evolution of these roles can be rooted in Maslow's hierarchy of needs. I think that when you take into account how each individual person strives to achieve the stages (at different times and varied success) as well as family units combining their pyramids of needs, stages become blurred, demonstrating how complexities formulate.

The proliferation of media, to me, has been a huge factor in the determination of gender roles. Especially in the U.S., where celebrities are worshipped. Right or wrong, we as a society depend largely on them to help us determine our own self-perceptions.

That's not to discount other factors, such as regional influence. How different is someone's perception growing up in West Texas than another's from New York City? Or the family as a guide to who a person could be? How does a child raised by a single mother develop a sense of masculinity?

I believe that all these factors influence each other. I grew up in a two income household, so my baby sitter was usually the television. Thus media was a major way I shaped my self-perception. Yet my mother as a working professional also led me to establish very strong values in treating women as capable equals. Then again, for either cultural or regional reason, she as the woman was expected to cook and clean the dishes every night; a very antiquated notion of the female role. Family impacts Media impacts Region and back again.

It's easy to see how one's definition of gender roles can become convoluted and confusing.

I definitely want to spend more time in the latter categories: Modern, Post Modern, and Current, but will hold off and let this overly long post conclude.

Role Call : Primer

Related Posts

Part 2 : Evolution of Man(liness)

Part 3 : Modern Man

Part 4 : Post-Modern Man

Part 5 : Fractured Man

I'm reviving this blog at bit and hijacking it for a new purpose. More of an experiment, really. In an effort to better understand myself and my thinking, I want to explore one's role in modern society by focusing on different aspects, whether it's gender, race, religion, socio-economic, etc. As this isn't a meticulously researched study, I won't tout this as anything but my own observations and contemplations, some of which will be formulated or evolved as I write.

Since this won't be objective, it may help to know where my perspective will generally be coming from. I'm in my thirties, somewhat liberal, college educated. A male, a minority, raised in a relatively non-dysfunctional household.

I consider myself fairly progressive and open-minded on issues such as gender equality, homosexuality, race and politics.

I don't pretend to be an expert in issues beyond my own experience so while I'll try to cover topics such as feminism, poverty, etc., I will probably just stick mostly to what I know.

MoMA: "Tim Burton"

I'd been eagerly anticipating this exhibit the second I heard the announcement. Yet I'd been too busy with work and moving to get to the museum before today.

Anyone who figures that Wednesday is a less crowded day would be completely wrong. I guess it's a testament to Tim Burton that he can bring in the masses on a weekday afternoon. Unfortunately, it made it difficult to focus on the actual exhibit. Getting swept along by the crowd with security guards constantly yelling "NO CAMERAS!!! TURN OFF PHONES!!!!" sort of diminished the effect.

Despite all the annoyances, it's an astounding collection that doubtlessly proves that Tim Burton is a unique visionary. Each generation has its defining artist, like Warhol of the 60s, and I'd be proud to think that Burton would be of mine. Along with a few others such as Michele Gondry, he manages to stand out and have a distinctive aura to his work. Especially in our media saturated culture where seemingly everyone can make their voice heard, Burton's uniqueness is all the more impressive.

Having seen his efforts throughout my life, it's easy to take for granted that Burton keeps producing. The fact that some of his later, more recent work hasn't been as good further dilutes his impact. Hopefully the upcoming Alice in Wonderland will have Burton's mojo back in force, which is probably why the MoMA timed this exhibition when they did.

Still, if Burton never created anything after The Nightmare Before Christmas, I would have still listed him as one of my most favorite and influential filmmakers. That film, along with Edward Scissorhands had a big impact on me. I could also count Batman, Batman Returns and Beetlejuice as lifelong favorites, but those first two had a particular strong grip on me.

I think it's because those seemed to realize Burton's vision in its most pure form. Looking at his sketches throughout the exhibit made me realize how much of my own style was mirrored in what I saw in Burton's movies, which is probably why I took to him so intensely. Odd quirks and tendencies that I had in my doodles and drawings such as tall, skinny, elongated figures or scribbly texturing or warped perspectives were all common in Burton's work as well. He definitely had a more twisted mind and was able to more fully realize his art. Thus he's the celebrated genius and I'm... a blogger.

The exhibit is also a great looking glass for his body of work. Rather than experiencing it all in real time like we have, we're now able to compress the work and observe the flow and let his trademarks emerge.

Black and white are obviously crucial elements, as well as his melding of the protagonist and antagonist. Jack from Nightmare and Edward Scissorhands embody a monster who is the story's hero, while Beetlejuice centers around a hero who is actually a monster. You can see why he was attracted to doing Batman. It also dawned on me that Sally from Nightmare could've been a close relative of Burton's Catwoman. His Penguin could've also been born from the sketches that led to Nightmare.

While the original was panned, I think Batman Returns stands up much better to the passage of time. Much of that has to do with the Burton stylization that was infused into the movie. The city of Gotham looks nothing like in the first film, but is definitely of Burton's world. The latex Catwoman costume also helps the repeated viewings.

The chance to see some of his work up close is a true gift. Peering inches away from Jack Skellington heads or getting to see the pen marks in Burton's sketchbooks or stare up at the actual sandworm jaws is something that any fan of his should get to experience.

I just hope the crowds die down so I can go back and savor the exhibit more fully.

And a last word of advice: MoMA membership. You'll spend more money, but you'll save about an hour of your life from standing in line into the exhibit.

Top 5 Albums of 2009 (and Top 5 Albums of the Decade)

Since everyone has come down with Best-Of-List fever, I guess I’ll hop on the bandwagon.

Top Five Albums of 2009

Yeah Yeah Yeahs – It’s Blitz

This band continues to evolve their sound without sacrificing what makes them great.

Neko Case – Middle Cyclone

While not as mesmerizing as Fox Confessor, this is a solid album with plenty of high points.

Various Artists – Dark was the Night

It's amazing how many artists got involved in this project. Full of gems that create a perfect mood together.

Decemberists – The Hazards of Love

The idea of a rock-opera could turn out to be hilariously bad, but the Decemberists manage to make an inspired experience. Vivid imagery and great music.

Animal Collective – Merriweather Post Pavilion

Critic darlings of the moment but it's deservedly so. I don't consider this among the best of the decade as some lists have it, but they are definitely on the cutting edge of the music scene right now.

I left off Grizzly Bear, not because I don't like them but I think the album is weaker than most care to admit. It's the best mediocre record I've heard in a long time, but not worthy of being in my top five.

How can anyone try to compile such a concise list for the decade? Thus most sites I see are doing a list of hundreds of albums. I was resistant but gave it a shot anyway...

Top 5 Albums of the Decade

Radiohead – Kid A (2000)
This one’s on the top of a lot of lists and justifiably so. After the opus of OK Computer, my anticipation for a new Radiohead album was never higher than for Kid A. Even still, I was unprepared for what they created. What a great way to kick off a decade in music and set the bar high for everyone else.

Sigur Rós – Ágætis byrjun (2000)

Astonishing... Beautiful... Brilliant... These are words that come to mind.

The White Stripes – White Blood Cells (2001)
It was a tough call between this and Elephant but I have to go with the one that introduced me to this duo. This album shows them just as they’re hitting their stride. The vibrancy that’s captured on this album was a refreshing change from everything around it at the time.

Beck – Sea Change (2002)
This came out of nowhere for me. I fully came to respect Beck’s genius as a musician because of this album. Even after endless listens, my heart aches at these songs. Raw emotion like this is rarely captured so completely.

Yeah Yeah Yeahs – Fever to Tell (2003)

This is pure, unabashed sonic fury that you only hear once in a while, like Nirvana's Nevermind ten years before.

"New York, I Love You", I like you but I don't love you

Perhaps it's not fair that I judge this film. I feel so close to the source material for the movie that it's hard to not have preconceived notions of what it should be. Then again, maybe that's why I feel as if I know what I'm talking about.

Like "Paris, je t'aime","New York, I Love You" is a collection of short films based on and in the city of New York. Or should I say Manhattan because only one of the segments is set in one of the other boroughs. And the people worth showing seem to almost exclusively be rich, white people.

To me, that's one of the crippling flaws of the movie. New York is a city swathed in diversity, not just racially, but also economically and ideologically. But here we see a gentrified Asian (who happens to be a hooker) or another Asian girl who only serves to be fetishized by a white guy.

Whereas the Paris installment was wonderfully diverse in its subject matter and approach, this film rarely strays out of it's comfort zone. It's as if the filmmakers were drawing inspiration not out of the city but of what they've seen on "Sex and the City".

The actors and directors all seemed too self-aware. Thus the effort at creating random, chance encounters comes off as contrived. Hayden Christensen's character pick-pocketing Andy Garcia's character only to court Andy's girlfriend resulting in the two guys pick-pocketing each other again was too intricate and perfect of a mobius strip to not have been written out to happen exactly that way.

Another scene that had me rolling my eyes was when two smokers outside of a restaurant interact when the beautiful woman looks over to the disinterested man and kicks off a conversation with "You know what I love about New York?"

Uuuuuugh! When does a conversation like that happen except in a movie touting what it loves about New York?

The one segment that really worked for me was of the elderly couple in Coney Island. Their bickering and banter rang true to me, and it was refreshing to see a setting not in the middle of Manhattan.

The short that attempts to subvert the predefined roles is the Natalie Portman directed story about a Hispanic male nanny and his little girl. Another effort at cross pollination of races also involves Portman but the effect is dulled by the overly dramatic and sappy revelation.

But these highlights were too little and too late.

During the film, I kept waiting to see parts of the city that I consider to be the genuine fabric of the New York experience. Where were the Bronx, Queens, Staten Island, or even Harlem! Where were the street vendors and subway performers? When has a cabbie ever expressed any interest in your profession? Where were the masses of hipsters crowded in a pizza parlor at 4am? Where were the Puerto Ricans playing dominoes outside their buildings? Where were the insane bike messengers? Where were the restaurants where each table was speaking a different language than the next? I even missed the Park Slope stroller brigades. Where was the freaking Brooklyn Bridge???

In the end, the film to me was a good attempt and a safe, fuzzy view of a small slice of the city. But it failed to dispel any preconceived ideas or convey any genuine experience of New York.

No more Reading Rainbow!

I'm extremely sad to hear that after 25 years, Reading Rainbow is going off the air. Like the passing of Mr. Rogers, a part of my childhood is gone.

Wholesome and unassuming, the show was a complete antithesis to today's prototypical programming which usually has to have some sort of hook or attitude. But I recall even years (or decades ago) when watching, I sensed that it didn't try to have any kind of edge or gimmick to compete with Sesame Street or other shows.

I had heard years ago that the show was in danger of being cancelled and LeVar Burton begged and pleaded for funding. I feel such disappointment for the passing of a great program that fostered a love for reading. I'm sad not just for my own sense of nostalgia but for the kids today who are going to miss out.

And who's mind wasn't blown when you first saw LeVar in a Star Trek uniform?

Quick thoughts on a couple of albums

I'd always been more of a casual fan of The Decemberists. I liked the music but never got excited enough to really pay attention to them. I think Colin Meloy's vocals aren't the easiest thing to absorb. Nonetheless, I'd collected a few of their albums.

So when The Hazards of Love was released, I didn't notice. I heard a few positive reviews and was willing to check them out until a friend gave it a thumbs down. Months later, I casually click on a track on an online music site, Lala. I gotta say, I immediately fell in love with the album.

The story goes that Meloy wanted to create a rock opera. And that he did. Parallels to Pink Floyd's The Wall are inevitable. Both tell stories utilizing various characters and musical themes. Meloy one-ups Pink Floyd by bringing in other singers to help create more distinct characterizations. I especially like the lower timbre of Shara Worden, from My Brightest Diamond, for the Queen.

In "The Wanting Comes the Waves/Repaid", she sings "And so..." with such a looming, low voice that I get chills every time I hear it.

There's a nice, in-depth interpretation of the album's opera story for anyone interested.

The album's been getting some mixed reviews, and I can assuredly predict that several of my friends won't be as impressed as I am. Maybe I have a soft spot for the epic, theatrical romance.

It's not like The Decemberists are inventing anything new here. But in the day of YouTube and shuffling playlists, it's refreshing to hear a band that is attempting a cohesive, long-form musical experience rather than a hit single.

----

The Dodos have released a new album and I caught it much quicker than The Decemberists. The Dodos' latest, Time to Die, is yet to be released on CD but is widely available digitally.

Much of it will be familiar to existing fans, but I was definitely surprised by some of the sounds on the album. I need to spend more time with it, but I sense more of a vibrant, energetic approach.

I keep reading that "this isn't Visiter" which is universally accepted as a great album. I agree it's not. There are fewer standouts on Time to Die, but it's got enough nice elements to make it worth the time to hear.

Menswhere : London Calling

Love the look of the new Drykorn line for Winter 09. Something about the British/Euro look that has always appealed to me.

Not sure if I have the guts to pull off plaid pants. Although it's not like I haven't worn crazier stuff out in public.

My recent unemployment (and resulting poverty) has derailed any attempt at styling up my wardrobe, which depresses me. Ragged t-shirts and jeans it is!

The Met: "The Pictures Generation" and "The Model as Muse"

So much for expectations. I had anticipated seeing The Pictures Generation at the Met for weeks and of course inexplicably put it off. I was determined not to wait until the very last minute again, so was able to go view the exhibit yesterday.

The problem was that I had assumed I knew what the exhibit was about. I imagined something similar to the format of the MoMA's Into the Sunset show which was a large spectrum of photography. But the name "The Pictures Generation" was much less literal than I had guessed so egg on my face.

The exhibit was composed of various media and many well known artists. I never get tired of viewing Cindy Sherman's work, and discovered some pieces by Barbara Kruger that I hadn't seen before. Robert Longo's striking images of men in business suits composited over blank backgrounds made me wonder if they were a source of inspiration for the Mad Men opening visuals.

There was lot to take in on just one viewing, which is characteristic of the Met. The show and the museum practically demand multiple visits.

A show that I unintentionally stumbled upon was The Model as Muse, an anthology of fashion photography.

It was interesting to see the progression of styles and evolution of trends throughout the eras. Though I admit to having trouble focusing on the exhibit while surrounded by a crowd. Maybe that's why I prefer to wait until a show is at the end of its run. An empty gallery is much more welcoming to me.

The most memorable moment was walking into one portion to find blacklit graffiti and Smells Like Teen Spirit blasting. It was the era of Generation X and grunge. Kate Moss was hailed as the unconventional beauty and thus the embodiment of the anti-establishment movement.

This irked me somewhat. When this was all happening, I recall the bemusement of everyone at how grunge was plagiarized by high fashion. How was anyone supposed to take it seriously? Elite fashion designers were mimicking the look of thrift store flannel and ripped jeans. That practice still exists today but on a somewhat more subtle level (ahem, Urban Outfitters). Seeing models strut down runways in grunge gear was a farce.

All my friends and I could do was shake our heads and laugh at how companies cluelessly tried to turn this alien trend into a commodity. The epitome had to be the Grunge Speak incident.

In retrospect, it was just another example of the revolution becoming the establishment. Nirvana upended Michael Jackson at the top of the charts and it signaled a changing of the guard. The dilemma of any underdog-turned-champion is that you lose that outsider persona and take on the mantle of the status quo.

Not sure how much I really got out of this exhibit but I think it's worth viewing. I've seen more intimate shows at the FIT galleries that I enjoyed more, but again the Met is all about grandeur of scale. Check it out, and prepare to be overwhelmed.

Shameless self-promotion

One blog just wasn't enough for this brain. Not sure yet what it all means for this blog. Maybe I'll get a real job soon and immediately ruin the purpose of the new blog. (Doubtful.)

Unworked

Wrong is the new right

My instincts are all wrong. That's what I've learned these last few weeks.

Due to my newly limited financial income, I decided to go to a new, cheaper place for a haircut. It's always a fearful leap of faith for a glasses-wearer because you just have to put your trust in the stylist while you stare into your blurry reflection.

The end result was a way shorter haircut that I had anticipated or was comfortable with.

The thing is, I've been getting a lot more compliments on my new haircut than I'd ever gotten before. Now maybe my friends are just being deceptively nice.

Or maybe the decisions or instincts I've had about my hair have been wrong. It makes me wonder if I've been making bad decisions for other things in my life. Like George Costanza, what if every thing I've ever chosen was the opposite of what I should've done?

Bose Pacia: "After Color"

There is something striking about black and white photography. The lack of hue punctuates the separation from reality. It's a reminder that what is being viewed is a representation. Yet, it allows the viewer to observe qualities that might otherwise be lost, such as the contrast of the deep shadows and the bright lights. There's a level of abstraction that allows the artist to direct perception and emphasize certain details.

After Color is an exhibit at the Bose Pacia gallery which examines the use of monochromatic photography through different styles, subjects, and formats. Although a number of artists were commissioned for the exhibit, the number of work by each was kept minimal. Possibly due to the limitation of space, this nonetheless helped contribute to a tight, focused exhibit that tantalized viewers rather than overwhelm them.

Arthur Ou's oversized trio of photos was the most immediately impactful work. The Untitled (Test Screens) portrayed various beach settings which were obscured, almost violated, by large blotches and splatters which were apparently applied in darkroom. The effect was dramatic, reminding the viewer that what were observing is several layers removed from reality.

Michael Vahrenwald's photos of lightboxes punctuated the idea of light and dark, further emphasized in black and white. In what I'm not sure was deliberate or serendipity, the photos were framed in highly reflective glass, creating another layer of light play. With such dark material displayed, the glass allowed for a great amount of reflection of the viewer and the environment. At certain angles, the photographic subject would be obscured by the viewer's own reflection, in essence creating a black and white version of the viewer. Again, luck or genius... I'm not sure. I'm possibly reading into things too much.

Matthew Gamber's reproduction of scarred and weathered chalkboards seemed to make the biggest impression on viewers. On one level, the viewer is left to imagine the countless words, numbers, and drawings once recorded on the boards, only to be wiped away, sometimes leaving a permanent trace of their existence. One could also stare into the dark void of the images and conjure up anything at all. The black abyss was like an empty canvas for the viewer. The patches of scratches and smudges were the only guides, sometimes creating allusions to x-rays, black cloudy skies, mammography, or video static.

I thought the exhibit overall was impressive, limited in size but not scope. Which parallels the exploration of the absence of color: that restriction can also become a liberation, allowing for more interpretive freedom.

The exhibit is up from July 8 through August 21.

Music

I don’t know what it is, but I just haven’t been able to find much these days that really catches my... um, ear. I’ve been resorting to a lot of stuff in my established collection such as Asteroids Galaxy Tour, Buena Vista Social Club, the Clash, David Bowie, and Hercules and Love Affair.

Goldfrapp
The ambient, chill-out feel of Seventh Tree is beautiful and hypnotic but I still love the up-tempo Supernature. Favorites have to be Ride on a White Horse and Ooh La La, but I love every song on that album.

Grizzly Bear
I’ve only heard their latest album, Veckatimist, but I like what I hear. They seem more of a traditional setup for a band, not employing so much electronica, which is sometimes refreshing in today’s scene. Two Weeks is my favorite which, of course, has a great harmony hook.

Juana Molina
An Argentenian singer/song-writer that has surprising elements in her songs. Vivé Solo starts off as serene and pastoral, then becomes an interesting beat of scatting, shouting and clapping. Dar is another excellent example of the somewhat sparse sound, layered with her voice and a driving yet subtle beat.

TV on the Radio
I wasn’t too impressed with this band until their recent release, Dear Science. I was able to see them live at Central Park Summer Stage, which is a terrible venue... especially in a down pour. Their latest album is an array of different sounds that really grabbed my attention. Golden Age and Shout Me Out are stand out tracks.

The Phenomenal Handclap Band
I’m still very new to this band, but think that they will be a group that you’ll hear a lot about once their debut album is released. They’ve been getting rave reviews for their energetic live shows and I can easily imagine them from the album. The songs are bursting with enthusiasm. The sound recalls 60’s prog rock and some disco. I want to list sound influences but honestly, each song on the album seems to be rooted in a different band. Sometimes they sound like The Doors, and one song I swear is a long-lost Foghat tune. You have to hear the album for yourself, particularly 15 to 20 (which Ting Tings fans will love).

David Byrne
I was lucky enough to see David Byrne play a free show in Prospect Park and I was reawakened to his genius. The guy puts on a seriously good show; very entertaining and vibrant. Since then I’ve been combing through his collection and needless to say, I’m a fan. I hope I age as well as this guy has.

Gomez
There’s a place in my heart for these guys, but I can’t deny the decline of their music over the years. Their first two, maybe three albums were incredibly fresh and diverse. But since then, they’ve catered more and more to safe, radio music. Their latest release, A New Tide, is such a disappointment for me that I didn’t even bother importing it into my iTunes. A sad day indeed.

Fiery Furnaces
Another band that I gave a lot of goodwill towards for the sheer genius of prior releases. Blueberry Boat and Gallowsbird’s Bark were works of art. But practically everything since has been an exercise in tolerance. It doesn’t help that they pump out so much music that you lose any excitement over hearing their name. I usually pine for as much music I can get from a band I like, but in this case, there can be too much of a good(?) thing.

TV

An area where I’m probably not ashamed of saying that I haven’t had too much exposure in lately...

Lost
I just want this series to be over, and with some sense of satisfaction. My roommate sat in on one episode and said “Oh! This is THE episode about the plane crash. Cool.” And I had to explain “Um... No, this is ANOTHER plane that all the main characters get on, that is going to crash. On the same island. And there’s time travel. And unexplained ghosts/appearances of characters.” It’s a show that’s managed to pile on the crazy just slow enough to not make it noticeable until you sit up and recount everything that’s happened. Sigh, only one season left, I can make it.

Mad Men
The most highly praised show in recent history among my friends. I have to say that the accolades probably sullied my opinion of the show. The bar was just set too high. Being a part of the advertising world is a double-edged sword for me. In some ways, I like that a show is giving exposure to things that I do, and yet, I felt somewhat insulted by the lack of effort at their jobs. In the pilot episode, the main character at the last second comes up with the entire ad campaign, pulling ideas out of his ass. Okay, so sometimes inspiration hits you like a lightning bolt, but I would’ve rather the world see how much thought and effort goes into coming up with solutions for clients. I guess the argument is that that doesn’t exactly make for exciting television. And the blatant sexism and racism in the show is somewhat off-putting. I know it’s a reflection of the era, but it’s such a heavy element of the show that it seems glorified. I gotta say though, that I love the ties and suits. We lost something in the times of polo shirts and khakis.

Strangers with Candy
A friend let me borrow her DVD collection and I have to say that this show is brilliant. I admit that I didn’t pay attention to the show when it aired, I’d like to say mainly because TV just wasn’t my focus at the time. But I probably wouldn’t have fully appreciated what the show was about. A dark satire way before it became the accepted norm, this show is still surprisingly cutting and off-beat. Genius is never understood in it’s day.

The Office
What can I say, I still love this show. No, it doesn’t seem as fresh as it did a few years ago and probably gets overshadowed by the brilliant 30 Rock, but I have such a soft spot for The Office and can’t fully explain why. I recently viewed the BBC version again and noticed how the NBC show has migrated so far from it over the years. Most noticeable is how more vibrant the color palate has become and the characters more joyous. The stories have gotten more sitcom-y and outrageous, which is disappointing, and the monotony of work that pervaded through the BBC version is lost. You don’t get cutaways to fax machines and people simply working anymore and I miss that. But the writing and humor are still top-notch, if not in an altered way. I’m a fan of the Jim and Pam characters, even though they’re more tailored to the safe, wholesome ideals of American television heroes. I’m impressed that the writers have managed to maintain the interest of the relationship long after the “will they, wont they” tension that most shows live and die by. Equally admirable is the show’s history of never being afraid to shake things up. Placing Jim out of the office in Season 3 was a bold, risky move and it’s hard to imagine many other shows with the guts to make it happen. The show generally pulls back into the status quo, but I’m interested in seeing where they put Pam in the next season. Plus, Jenna Fischer is just so hot.

Art

Another area of neglect. I used to take part in the Gallery Openings in Chelsea which salved my cultured side but haven’t been able to make it to any exhibitions in a while.

Aernout Mik at the MoMA
Impressive video installations of various stagings, shown in multiple angles. At times overwhelming, it was nonetheless interesting to view a scene in an almost omniscient perspective. In media, we’re so used to being shown the focus of an event or scene that when presented with an un-narrated view it feels foreign. The viewer is left to decide where to focus attention and which story and character to follow. Multiple things are unfolding in each environment and each subject has his or her own trajectory. Reflective of our world, where we each play the lead role in our tale but take part in an interwoven, larger mesh of stories.

Into the Sunset at the MoMA
An expansive exhibit highlight photography in the Western U.S. Although impressive, this show just felt unfocused to me, probably due to the sheer magnitude of the artists, subjects and styles. The goal seemed to be more about grandiose scale. Still, it was worth a look.

Tangled Alphabets at the MoMA
I wanted to be more impressed with this show than I actually was. As a designer, I have a special reverence for typography and it’s symbolic power, but left the exhibit feeling unfulfilled.

I have yet to view the Pictures Generation exhibit at the Met, which I am highly anticipating. A photography collection centered around New York artists.

Books

I shamefully admit to have not been reading much lately...

2666
The highly praised final work of Roberto Bolaño. It’s an engrossing, slow burn of a read, that I was drawn into, but somehow got sidetracked. Divided into four parts, I only reached the middle of the third section which chronicles the grisly deaths of young girls. I think that’s what did me in. I was reading the book in the evenings before bed and this section really fucked with my head to the point where I couldn’t sleep and had to stop reading. I need and want to finish the book, which I’ll try to undertake next week.

Naked
I’ve been in dire need of catching up on the genius of David Sedaris so started with this one. How can he so masterfully portray his life of quirky, dysfunctional behavior in such an entertaining, humorous way? I feel that if I undertook this, I’d just come off as sad and disturbing.

The Fountainhead
Another in the long line of books that I just inexplicably missed out on in my past. This book was actually the perfect thing for me to read when recently laid off. The exploits of an artistic genius who unflinchingly faces obstacles and adversaries, and comes out triumphant with his soul and integrity intact definitely inspires a person like me. I’ve fought several artistic battles in previous jobs and have always suffered with the mediocre compromised “solutions” so can cheer on a character like Rourke, even though he’s an obviously idealized image of man. As romantic as the story is, I have to wonder how successful his approach would be in the real world. This book merits multiple readings, especially at times of waivering on my beliefs and goals.

Movies

Star Trek
Okay, I admit that I enjoyed this flick. My dad was really gung-ho about seeing it, in IMAX no less. It was a good, fun movie that treated the existing canon with some reverence while being unafraid of putting it’s own spin things. I’ve discovered that casual viewers liked it much more than the fans. There were definitely parts of the plot that made no sense to the point of insulting my intelligence. And maybe that’s the biggest crime against the fans, who were always drawn to the brainier aspects of the shows.

Wolverine
My cousin was really gung-ho about seeing it, and I wish I could go back in time to punch him in the face for it. Insanely stupid, and saddening to know that it was a blockbuster hit. Sigh.

Frost/Nixon
Wow. I started it with a friend who basically apologized in advance, saying it was probably going to be slow and boring. Yet I found it to be a great, interesting story, with superb acting. I’ve always had a soft spot for History and really got into the story. It showed Nixon in a new light for me, and reaffirmed my belief that politicians, no matter how slimy they seem, are often very charismatic and charming people when seen up close.

Man on Wire
Like Frost/Nixon, what could’ve been a relatively straight-forward and dull account of an event, was expertly portrayed. There was tension and suspense (sorry no tight-rope walking puns intended) to the manner in which the film unfolded.

Up
Even in a tight financial situation, I couldn’t pass up seeing a Pixar movie. As usual they not only deliver, but manage to amaze me with emotional storytelling. The actual plot and action portions didn’t exactly impress me but the sheer amount of emotion that Pixar managed to invoke within me caught me by surprise.

Manhattan/Annie Hall
I finally finally saw these Woody Allen movies and have to say that I missed out by not seeing them years ago. I enjoyed Annie Hall more, particularly Diane Keaton’s luminous performance. I feel primed to see Whatever Works now, but am worried that the criticism of Woody Allen’s filmmaking decline will be much more noticeable to me after seeing these two great films.

Blah Blah Blog

Whew. So much happens in a month, which is probably reflected in the neglect of this blog. Turning 30, getting laid off... These things tend to hog my time.

I contemplated 30 as a pivotal point, including deliberating over abandoning this blog that I’ve kept for several years. It’s seen me through a lot, but at the same time, I considered whether or not it would feel appropriate to help me “move onwards” by letting it go, like my 20’s.

The fact of it is that this was always intended to be a personal forum and not exactly something to broadcast to others. Yet something happened over time; the blog became much less anonymous and therefore less personal. In reviewing the past few posts, I had definitely steered away from personal issues and more towards just tidbits of news and entertainment. I still feel that it’s a valuable mode of expression for me, since I enjoy how it allows me to formulate more complete opinions about the music and whatnot I get exposed to. But I miss the journal aspect of it. I had forgotten much of the older content so was pleasantly surprised to rediscover what is probably my favorite post of the blog: Toy Story.

I haven’t figured out definitively the fate of this blog. I may let it fizzle out, or it may live on as the less personal review site.

For now, there seems to be a backlog of music, movies and such that I want to just unload out of my mind so that’s what the next few posts will feature.

Fab!

The animation style on the new Beatles Rock Band trailer is beautiful. I love the stylized look of the guys, especially their elongated figures.

The Beatles: Rock Band at IGN.com