Saturday, March 8, 2008
Even though I'm in the midst of this really cool Pedro Costa thing at the PFA, I can't quit thinking about The Wire. There's plenty of reasons why, like that podcast at THND between Matt and Alan Sepinwall and Anthony Johnston and the Fresh Air interview with David Simon and a ton of writings all over the internet (from blogs to rags) and clips of the show on youtube. Two of my favorite Marlo scenes are currently available for your viewing pleasure, or discomfort, although my "all-time favorite" scene (to a nobody rent-a-cop: "You want it to be one way...but it's the other way"), which is from the same episode as this Fat Face Andre scene, is not to be found. So, while the videos are up, let's talk about Marlo. Like a lot of fans, like my friends, I'm more interested in The Street (which overlaps with The Schools) than in The Hall or The Paper or The Police or The Docks. Part of it is curiosity, sure, but I feel like I know this side better. Or I understand it better. Or it simply plays better. Or I just like all the actors better (or if not "better" than "a lot"). Jaime Hector is a weird actor playing a weird role -- a role he'll probably never top. Marlo Stanfield is a regular Daniel Plainview. Except, you know, black. And he would never let Paul Dano slap him, even if it got him rich beyond the sea; Marlo would bury Eli underground (or in a vacant) real quick. It's that way with Fat Face Andre here: Omar's only ever out for that angle on the crown, for a leg up, a way to keep everybody around him off kilter and subservient. Then, when he no longer needs you, you get dead. If Marlo can call Omar "Spiderman" and say things like "My name is my name!" then I think I can call Marlo "Daniel Plainview." Because, really, what does Marlo want but to make enough money to get away from everybody? He's barely "in" the street anymore, even though this season, for the most part, we only ever saw him out of doors before this arrest here at the close. He's learned to not trust spaces as much as he has trained himself to not trust people. Have we actually seen him driving at all this season? He just appears places. Hell, he plays with time, too, pushing clock hands around. And he may walk free in tomorrow night's episode, just as Daniel Plainview has his way. But something tells me that suit he's wearing in the series finale (seen in that preview I posted) will get torn up, maybe even bloodied. But I can't quite make out by who. Nor will I rule out that it will be another's blood. Ah, I'm probably a little too excited. I'm sure David Simon will undercut me somehow. As much as I've learned to not trust Simon, I've learned to trust him to be himself. It's the same story with anybody: Marlo, Daniel, me, you. --RWK
These pix are reminders that (1) Jaime Hector is probably a cool guy, (2) Jaime Hector can wear cool clothes well and (3) I will never be able to look this cool. The best I can hope for is something like this, with shorter hair and glasses.
Friday, March 7, 2008
Two French Touch space jams I've been digging a lot recently. They help me zone out and feel the groove. The first song, from Alan Braxe and Fred Falke, is old news, simple as hell, and maybe a little melancholic, but it's pretty perfect -- and restorative. The second song, from Falke alone, is kinda new. Every time I put it on my shoulders start to move involuntarily and then my head bobs and by the end of its six minutes my whole body can't quit: I feel this song. I know this. Forget about Lou Reed's idea of the prefect day: this is it. You know it. You've all had that perfect day -- that perfect summer day -- that winds down somewhere south, or maybe west, of wherever you call home -- somewhere with plenty of sand and waves -- and all you have to do is lean back, drink something and enjoy your friends. If you haven't had that perfect day, you're missing out. Like Brian Wilson says, SMILE! (Except I'm actually smiling!) --RWK
Alan Braxe and Fred Falke - Love Lost (zshare)
Fred Falke - 8:08 @ The Beach (via fluokids)
[Pix: Couldn't find my copy of Jules & Jim, or Masculin-Feminin, so another pair of French films (both by the same auteur) will have to do. There, I gave you a big hint this time. As if it wasn't already obvious.]
UPDATE: Or, should I say, more theft. Here's a new Fred Falke remix I'm already in love with.
The Whitest Boy Alive - Golden Cage [Fred Falke remix] (via DISCODUST)
Thursday, March 6, 2008
Of recent I've been pretty against "no hook" songs. Songs catered more towards the hip-hop heads, which usually means (at least here in the Bay) white kids who care about "lyricism," and whatever the fuck that entails. (read: Bus Driver is terrible).
But, this is an amazing song, so hard, so tough, really studio-sounding for a Roots song but I think thats why I digg it.
Wednesday, March 5, 2008
A leprechaun in Mobile, Alabama. They know how to carry the news team, don't they? Wait. Hold the phone. What am I saying? This news report should win an award. They really got to the bottom of the story. --RWK [via Justin]
Tuesday, March 4, 2008
As if I wasn't already super-duper excited. Cheese delivering the show's motto? Marlo in a suit? Fighting in the street? Everybody knows? Jesus: this will be big. Yeah, the bait's working on my dumb ass fish eyes. --RWK
Monday, March 3, 2008
I missed both shows The Magnetic Fields played this past weekend in San Francisco. Such is my busy life's lot. Oh well. Instead I went dancing with my friends on Friday night, and that was lots of fun. But I woulda dug hearing this song had I gone to the show. Did he play it? Anything from Holiday or Get Lost? Those are probably my favorites. --RWK
The Magnetic Fields - Strange Powers (zshare)
[Pic stolen from DVDBeaver. The toughest yet. Not that anybody is guessing. However, I will guess that somebody may recognize the image; and then they'll know (secretly) how clever I am.]