One Giant Clusterf*ck: LTTP

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LTTP: Late '09 Recap [Part 2]

So if you haven't noticed, I really never posted much since last December. Sorry for that but I have been busy with school and was with the family for the holidays. So this special-edition of LTTP is going to cover a lot of bases that I wanted to write full posts about, but simply never had the time for.

Jump after the break for an extra large clusterf*ck of quick articles.

LTTP: Late '09 Recap [Part 1]

LTTP: Mad Men

I love TV. I really cannot get enough of a good television program. So it is with deep shame to admit that I have not seen the cultural phenomenon known as ‘Mad Men’. Until now.

I am currently half way through season one and even though I am enjoying it, I am also nagged by a single question: what’s the point?

The characters are piercingly real, the dialogue is absorbing, and the plot lines are engrossing. Plus, of course, ‘Mad Men’ has completely nailed the look and feel of the 1960s. Everything from the set designs, to the fashions, the habits of the people, and even down to the excellent selection of music. Yet it all seems like it is much ado about nothing.

I do understand the point of some of the individual episodes thanks to some truly masterful directing, but for some reason I just cannot fit all the pieces together. Character stories and development is always on point in all of the episodes and the show does an excellent job juggling all of its characters.

Yet the annoying thing about it all is that I know the show is trying to make some kind of point but I just cannot decipher it.

But don’t assume I lack confidence in the show. I am definitely giving ‘Mad Men’ the benefit of the doubt right now simply because it is it’s first season after all. Shows don’t always start well, and with time they usually improve. Plus ‘Mad Men’ only got big after winning and Emmy for its first season so maybe I should hang on until the beginning second season.

Or maybe I’m an idiot. It did take me a second viewing of The Dark Knight to understand the message of that film.

Aside from my lack of philosophical insight, ‘Mad Men’ is still quite an engrossing drama and I’m frankly shocked that so many people are into the show. ‘Mad Men’ is a mature and sophisticated drama and it’s refreshing to know that this kind of show can receive the level of acclaim it does.

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LTTP stands for “Late To The Party” and in this feature I will go back to certain things I missed when they were first released or popular and give my current impressions.
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LTTP: 30 Rock

Well I am not completely finished with 30 Rock, but I thought that now would be a good time to write about my impressions of the Emmy-winning surprise hit.

But then I started season 3...and things jumped to a whole new level.

Within the first ten episodes of the most recent season 30 Rock has had AAA guest stars like Jennifer Aniston, Oprah Winfrey, Megan Mullally, and Steve Martin. On top of that is a recurring role with Salma Hayek as well as Mad Men's Jon Hamm. And along with the extra firepower, 30 Rock has really started to go full swing.

Season 1 was the show's humble beginnings and just like every other show, some issues had to be ironed out. Tracy Morgan as Tracy Jordan (get it?) was entertaining, but his character was a bit one-note for the first few episodes. Tina Fey as Liz Lemon was really the only confident actor on the show but that's probably because, you know, she created the show. One of the best reasons to watch first season, however, came in the form of the synergy-crazed corporate manager known as Jack Donaghy, as portrayed by Alec Baldwin. Not only did the actor create a justified reason to watch this infantile series, but Baldwin also delivered some of his most inspired comedy in a long time.

Luckily, by the end of the season I was bursting out loud in laughter uncontrollably, mostly due to Jack Donaghy. (The fireworks joke was really, really awesome.)

Then season 2 busted open a whole new can of awesome with the premiere, which I still find to be one of the funniest episodes of television I have ever seen. Getting Jerry Seinfeld on to 30 Rock was an ingenious move by both Seinfeld and NBC; Seinfeld was able to advertise Bee Movie and NBC was able to expand the range of the audience hot off an Emmy victory for the show. One of the best parts of that episode was definitely the therapy session, and you can see what I mean below.

A few more guest stars who gave hilarious cameos includes David Schwimmer as eco-friendly mascot GreenZo (who eventually goes mad with power) and Will Arnett as Jack's arch-nemesis Devon Banks (who just so happens to be gay and obssessed with the innocent page Kenneth). Despite these great actors making appearances, the season never seems to get as sharp and as witty as I hoped and there was one huge reason for that: the 2007 writer's strike.

Season 2 was tragically cut short to a mere 15 episodes and the show managed to squeeze out enough big plot lines to get fans to look forward to the third season, but the show got a little bit too preoccupied with that and the confidence the show went in to second season with was suddenly hindered. Thankfully, season 3 came out swinging and that determination was stronger than ever. Season 3 is shaping up nicely so far and I cannot wait to finish the second half.

I remember I was confused as to why a show like 30 Rock was able to clinch the Best Comedy Emmy with its first season (an extremely rare occurrence with any show) and now I think I finally understand why: 30 Rock is one of the funniest, most clever shows on television right now. It is easily recommended to anyone who would enjoy Alec Baldwin confronting his Hispanic alter ego, Liz Lemon thinking she is pregnant due to delicious Mexican snacks made with Bull semen, Tracy Morgan's Tracy Jordan creating a pornographic video game called Goregasm: The Legend of Dong Slayer, Chris Parnell as Dr. Leo Spaceman (pronounced "spa-che-men"), or...

...Well, I'm sure you get the idea.

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LTTP: The Strokes - 'Room On Fire'

The Strokes released the album Is This It? back in 2001 and it almost single-handedly revived the modern rock scene. The smash-hit album came after a decade when the gloomy Smashing Pumpkins had risen to fame and imitators were multiplying at a frequent pace. Critics lauded the album as a back-to-the-basics approach to the rock, commended its primary aim to just make fun songs, and congratulated The Strokes for giving the genre the kick in the pants it needed.

Now I only listened to Is This It? in its entirety a few years ago because I was fairly young when it originally came out and it was nothing short of amazing. Nearly all of the songs hit that super fun rocking out feel the classics did and the album is destined to go up there with the greatest. But what about their next album?

Well I seemed to miss that one, and that is why I am bringing it up today. The Strokes' follow up to their wildly successful debut was Room On Fire in 2003 and it built on top of the (already flawless) formula the Brooklyn-based rock band used previously. The result? An even more approachable album than the first filled with some stellar production and some of the most fun rock songs I have ever heard.

Opener “Whatever Happened?” kicks off the album in a similar fashion as the 2001 debut hit, but it is this track that also defines how the album will sound different. Gone is the monotoned rock riffs of Is This It? and in its place is a powerfully dynamic sound where the mellow guitar and drum rhythms pop to life and take center stage.

Julian Casablancas' voice once again is another unique trademark of the band; raspy, painful, and the perfect acquaintance to the special kind of rock The Strokes make. The lead singer delivers on the second track, “Reptilia”, in stunning fashion. The fast-in-a-slow-way feel of the track is stimulating and infectiously catchy—definitely one of the best tracks on the album. The following track, “Automatic Stop” is less catchy, but feels like a slightly edgier version of “Reptilia” due to its clever lyrics. But the track follows a similar sound as “Reptilia” and somewhat fails to stand out in comparison.

While the previous songs all followed a similar sound and ideal as their debut album. On “12:51” all of that changes. It is a completely reworking of the band's previous style. The song has some shades of “Last Nite” in the chorus, but aside from that the simple addition of a keyboard to create a 'rhythm path' of sorts is almost mind-blowing to the original formula. The next track implements a similar technique and “You Talk Way Too Much” is more of a combination of “12:51” and “Last Nite”.

Things slow down a bit for “Between Love & Hate”, a mellow rock song that is probably the weakest out of the album. The song flows nicely until the unusual solo which makes an abrupt departure from the rest of the song and sounds just a bit off. “Meet Me In The Bathroom” speeds up once again and strikes a similar sound as “Take It Or Leave It” from Is This It?

Where “Between Love & Hate” failed, “Under Control” rises. The song is slower than the previously mentioned track and is also much more likable due to its easy-flowing lyrics in almost perfect harmony with the rhythm. The song borrows from 60s rock more than anything and sounds fairly similar to a Beach Boys song, just without the sing-along chorus. “Under Control” is yet another example of The Strokes really trying to branch out in terms of style on this album.

Things speed up again with the gem “The Way It Is” and the track is also fairly experimental. Instead of a live drumset being used, it is easy to tell they attempted to use an electronic drum synthesizer. The song also makes use of a keyboard in a similar way as “12:51” and to great effect. While not as catchy as some others, “The Way It Is” can easily be recommended to anyone who enjoyed the first album.

“The End Has No End” maintains the current pace and is yet another strong track off the album. While it does get a bit repetitive, it is still commendable for its further use of experimental techniques. Finally, Room On Fire comes to a close with the stellar “I Can't Win”. This song is easily one of the best tracks on the album and kind of presses the 'reset' button by going back to The Strokes' signature sound. “I Can't Win” hits a near-perfect rhythm and once again the lyrics are synced effortlessly. But the best part? Right when you think the song is about to jump up to a new level, it stops.

And just like that the listener is compelled to listen to the entire album again. Room On Fire was a strong follow up to the genre-defining debut album and proved The Strokes were not just a fling. These boys were right on the target of what makes good rock and, aside from a few missteps, they diversified their sound and became a force to be reckoned with.

So, where are they now? In the currently boring and tedious state of rock, the genre needs another band like The Strokes. The New York rock band attempted to move into the sub-genre of alternative rock with their third album, First Impressions of Earth. While the album received good reviews from critics, it received lukewarm feelings from fans. Since then the band has nearly fallen off the face of the Earth, taking a 3-year hiatus during which the members went off into side projects.

There is a glimmer of hope, though—the band has acknowledged that work on their fourth album had began since January. Sadly, there is still no firm release date. Hearing albums like Room On Fire make me even more depressed with some of the rock music being released nowadays. I am ready to have fun with rock again and I hope The Strokes can get that memo.

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LTTP stands for “Late To The Party” and in this feature I will go back to certain things I missed when they were released or popular and give my current impressions.
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