If you’re an avid reader, you are doubtless acquainted with a familiar phenomenon, the thrilling but also potentially problematic process of choosing the next book. I usually have at least two or three going at a given time, but right now I’m working the tax season at a CPA firm, so there isn’t all that much time to read. But I have a 20 minute commute, plenty of time to enjoy an audiobook. Surprisingly, choosing a book for my daily commute took a while, as can be the case when I want to find just the right book, the right book for the right time, the book that excites me and makes me want to dig in, ASAP.
I’m nearly at the end of watching HBO’s My Brilliant Friend, the recently aired adaptation of the Elena Ferrante Neapolitan Novels. I’ve now read all for novels, though I’ve only reviewed the first, My Brilliant Friend. The books were quite brilliant and the new HBO film series builds on that. I’ll gave more to say on that another day — because, my god, there is so much to say — but for now I wanted to pass along the thoughts of Rhiannon Cosslett, writing in The Guardian. Her analysis of females portrayed in film brings out the richness of the new HBO film series (and by extension the novels): what struck me most about the shifting of the story into a different medium is the time given to the two main – female – characters, and how revolutionary it still feels to see female friendship explored onscreen in this way. If the portrayal of this friendship was revelatory in the novel, with all that form’s facility for introspection, then on screen it is even more …
I’ve just finished watching the second season if Westworld — and wow — but more on that wow at another time. For now I wanted to share this vid, since for me a major part of the pleasure of watching Westworld is the music, the symphonic sounds of Ramin Djawadi, the composer of the music of Westworld. There are beautiful recreations of old grunge tunes, like Soundgarden’s “Black Hole Sun” or “Heart Shaped Box” by Nirvana. And perhaps that’s meant to be metaphorical, like Arnold and Ford’s recreation and re-imagination of humankind.
I was listening to the evening news tonight, on my commute home from work and heard the recap of Trump’s visit to the border, as part of his attempt to manufacture a border crises so as to 1) deflect attention from the mounting evidence that Trump knowingly worked with the Russians to win the 2016 election and 2) legitimate Trump’s use of “emergency powers.” (I don’t expect that the government shutdown will end anytime soon because the main purpose is to deflect attention from Trump’s dirty deeds in 2016.) They played a sound byte from Trump. He sounded a little shrill, but that only helps to ramp up the hysteria, and Trump needs hysteria. The so-called “news media” is all using the same term, Trump said, calling it a “manufactured crisis.” But it’s not a manufactured crisis, Trump said, rather the news media is manufacturing the term “manufactured crisis.” Perhaps in response, critics of Trump would say that he’s manufacturing the idea of manufacturing a “manufactured crisis.” This, ladies and gentlemen, is your Postmodern President. …
I spent a pleasant New Year’s Day in my pajamas, binge-watching the first season of Westworld with one of my friends. Westworld is a beautiful show; it’s visually elegant, the pacing is deliberate but builds on itself, and the writing is fantastic, there’s nothing wasted. I’ve heard, in fact, that they interrupted the whole production process, putting the show on hold, all so that the writers could fine tune the show. It certainly paid off. It hooked me in, and I stopped only to satisfy the most basic of biological needs. It all made for a hellagood New Year’s Day.
I came across an article in The Guardian ranking the best albums of 2018. In recent years I’ve drifted father and farther away from new artists and new music and new releases. What better way to remedy the situation than by utilizing the full power of the awesome music library that I have at my disposal (Spotify subscription) to begin updating myself. Most of the albums on the list display a preference for identity pop or “a fine selection of albums that range from the socially conscious to the political, as well as pure slices of ecstatic rock and cutting rap.” And so it was that in listening through the list that I came across Chicago native Noname, a talented poet and rapper. I’m quite taken with her 2018 album Room 25. The album starts out with a bang. Here are the first two tracks, Self and Blaxploitation. Self Blaxploitation
For me, 2018 was another bad year. Apart of me really hates to call a year “bad” — or any time period. We live and learn from any and all experiences, blah, blah. We call know that we can make the best of difficult situations, etc. A part of me gets it and understands that I can’t control the circumstances of my life and that in order to successfully navigate tough times, I ought to be mature and learn from shitty experiences, but some years are just harder than others. So, another part of me is fine with saying that 2018 sucked.