Posts tagged culture

This past Thursday I went to Karaoke Night at a small and somewhat dumpy bar/restaurant in Fairlawn, N.J. Despite groans from my boyfriend when he became aware that we were going to listen to drunkards sing along to Ke$ha at 11 p.m., we made plans to meet the standard group of friends we usually go out with. Little did we know that we would be the most vivacious people in attendance, besides a 60-something-year-old man that liked to bump and grind to Lady Gaga and Rockabilly revival.

To some, the principles and overall methodology of karaoke is sacred. There are several titles covering important concepts and rules, including an in-depth analysis of the entertainment within Chinese culture, written by William Paterson University professor of Communication Theory, Dr. Casey Lum (whom was also my professor). However to others karaoke nights are just excuses for them to go to empty dive bars, consume the cheapest vodka possible, and make fools of themselves by rocking out to the greatest hits while their friends laugh at (not with) them. The latter characterization was me — minus the whole rocking out thing.

As I explained to my friend Nick of the Escape Directors, I get extreme performance anxiety. No matter how small the audience, my throat dries and closes up, my voice quivers and I forget the lyrics. Simply not an ideal situation for all parties involved. But at the same time I found myself peering over my friends’ shoulders, looking at the blessed “song binder” to see which songs I would perform as my karaoke debut. But alas, the bible never fell in my lap and I couldn’t muster up the courage to step up to the mic. So now’s the time for me to lay out what I would perform if I had (figurative) balls of steel and became a hard-core karaoke champ. Keep in mind, these were in no way analyzed — songs chosen are merely tracks I have found myself singing and dancing to in the privacy of my own home and car. Readers of this blog now I’m mainly a rock girl, but this entry will cover not only rock, but the top five pop and rap/R&B tracks. Is this thing on?

Rock
1. “The Stroke” Billy Squier: First thing that comes to mind is the epic “first day of high school” scene in Billy Madison. But the guitar lick is contagious and it’s just one of those tracks that can make even the most belligerently drunk folks head bang to the beat and sing “Stroke me, stroke me.” 

2. “Pour Some Sugar On Me” Def Leppard: Another unnecessarily yet amazingly dirty song. Although this song has kind of been done to death, from being synched in Coyote Ugly to On The Line starring the once-straight Lance Bass and Joey Fatone, it’s so freakin’ easy to see why. Come on, people! Listen to it! Can’t you just see some trashy chick chuggin’ $2 PBR’s grinding the mic stand to this while garbling the lyrics? Karaoke gold!

3. “Livin’ On A Prayer” Bon Jovi: Do I really need to get into this? Jersey chick aside, this song has such an epic build up. Not only can singers shout the chorus and finger point to the audience, they can (attempt to) seductively croon the verse. Beautiful.

4. “Fat Bottomed Girls” Queen: Everyone who even slightly knows of my existence knows my devotion to Queen. I’ve been wearing out their CDs and collecting vinyls and T-shirts since my pre-teen, disgustingly angsty years. The heartbeat-thumping drums interlace perfectly with the guitars. Throw in your best Freddie Mercury voice and a little bit of booty bouncing and you’ve got the perfect performance.

Honorable mentions:

“My Sharona” The Knack
“American Woman” by The Guess Who
“Paradise By the Dashboard Light” by Meatloaf
“Dude Looks Like A Lady” by Aerosmith
“You Shook Me All Night Long” by AC/DC

Pop

1. “Whip It” Devo: Okay, okay, I know this isn’t necessarily a “pop” song, but its bass lick is too contagious and the lyrics too outrageous to be a flat-out rock song. Within the first five seconds, I can guarantee that 75 percent of any audience will start grooving in their seats (or out of them, if they’re feeling feisty). Crack that whip!

2. “Love Shack” B-52s: Another band that can easily fall within the dance/alternative sector, but hey, this is my blog. And to be honest, the B-52s in my eyes are the epitome of pop perfection. Dance beats, experimental and whacky lyrics, and outrageously colorful characters. Come on, how fun is it to impersonate Fred Schneider?

3. “Hit Me Baby (One More Time)” Britney Spears: More current, but still a classic.

4. “La La” Ashlee Simpson: Read the commentary on “Pour Some Sugar On Me” and it will apply to this contagious dance track. However, the likelihood of said drunk girl going on the prowl and sinking her claws into some poor, unaware male is far more likely.

5. “Toxic” Britney Spears: It may seem like I’m cheating by putting two Brit-Brit songs in one five-song countdown, but this chick is the ideal in terms of seductive yet innocent and fun pop music. Isn’t that what karaoke is all about?

6. “Bad Romance” Lady Gaga: This is the song to sing if you’re feeling saucy and are determined to show off. The bridge leads up to the most perfect “star moment” that I have heard in at least the last five years. This is by no means honorable mention. This is top notch stuff. Use with caution.

For the classic-lovers…
If you don’t wanna touch that modern stuff, here are the obvious top choices I would proudly get on stage and shriek along to.

“Like a Virgin” by Madonna
“Beat It” by Michael Jackson
“Little Red Corvette” by Prince
“Straight Up” by Paula Abdul

Hip-hop/Rap/R&B

1. “Push It” Salt-N-Pepa: We all know the notoriety of this song. Not only is it a fantastic dance track, it will show your sex appeal and your rap skills. If you don’t believe me, check out this scene from Grandma’s Boy. Who wouldn’t want a piece of that?

2. “Baby Got Back” Sir Mix-A-Lot: Seriously, who doesn’t like this song? Seriously.

3. “Notorious” Notorious B-I-G: Only skilled emcees need apply. I don’t care how drunk you are, this isn’t for the faint at heart.

4. “99 Problems” Jay-Z: See above explanation.

5. “Woo-Ha” Busta Rhymes: Okay, this song is merely wishful thinking. Honestly, my goal for 2011 is to be able to perfectly perform this track. At least now I have something to work towards!

These “lists” may be vague. However, these were the songs that stuck out most for me in terms of most contagious, danceable, fun and just overall awesome. I don’t want to hear any schmucks singing Journey’s “Open Arms” while crying into their glass of house merlot. If you’re gonna cry, don’t cry on the stage. I’ll be busy rockin’ out to Def Lep. Bartender, another vodka soda please!

Happy singing, folks!

HBO is trying a new format to reach out to documentary buffs like myself. Each Sunday, the specialty network will be premiering a new documentary at 9 p.m. Despite the countless number of re-runs and the fair amount of publicity for the documentary, I just got the chance to catch Smash His Camera this Wednesday.

The modest 90-minute doc tells the story and infamy of Ron Galella, America’s first paparazzo. Although the film takes a glimpse into tabloid and paparazzi culture, it shows the life and work of Galella and his impact on the concept of the American celebrity. The history the man has captured is astonishing. The elbow-rubbing he has done with film and music icons is bewildering. But what is most incredible and heart-warming is the 79-year-old’s undying passion for his craft.

Paparazzo Ron Galella getting the perfect shot of Jackie O.

Galella’s claims to fame as Jackie O’s stalker and the photographer who got punched in the face by Marlon Brando have not phased him. To others in the field, he’s a celebrity stalker. But to himself, and countless art buyers, he’s a man that accurately represents the world’s most untouchable figures doing the most boring, day-to-day tasks.

As a self-claimed culture junkie, I figured it would be the extraordinary number of Galella’s celebrity encounters that would reel me in. His forays at Studio 54 were especially amusing. However, it was the gleem in his eye that flashed on the screen whenever he told stories of his youth that truly got to me. The man is still a young soul and he still continues to wander the streets of New York, hoping to get that next big shot. The man loves what he does after all these years. And for that, I give him props.

If you get the chance, check out Smash His Camera, especially if you’re interested in art, film, photographs, music and culture. So basically, if you have a soul.

Note: This is one of the few articles I’ve contributed to the Rhythm & Beats blog. Like what you see? We keep tabs on today’s mainstream music industry with countdowns, classic videos, news, and the best tracks. www.rhythmbeats.tumblr.com

By Alicia Fiorletta

On July 2, 1988, Michael Jackson made music history.

Last week marked the one-year anniversary of Michael Jackson’s death. Leaving behind three children (Prince, Paris and Prince II or “Blanket), his family and legions of fans around the world, Jackson’s prominence in the entertainment world thrives proudly.

Between his incredible vocal range, hypnotizing dance movies and alluring songwriting, the legendary performer has been awarded 13 Grammys, been inducted into the Rock and Roll Hall of Fame twice, and has five L.Ps on the list of the best-selling albums of all time. His 1982 album, Thriller, is number one on that list.

On July 2, 1988, Jackson was named the first artist to have five number one singles from one album. Including the title track from 1987’s Bad, the L.P. had chart-topping tracks “I Just Can’t Stop Loving You,” “Man in the Mirror” and “The Way You Make Me Feel.” This day marked the moment Jackson broke the record with “Dirty Diana.” The track amps up the icon’s ambiguous sexuality as he tells the tale of a groupie-prowess eager to destroy his home life for bragging rights. His vocal tone is angry, practically seething, as a rock band outfit accompanies him. Like his other rock-driven track, “Beat It,” Jackson feels oddly comfortable with harsher instrumentation.

A vocal chameleon of sorts, he was a performer that didn’t unsuccessfully try to reach out to a bigger audience. Rather, he effortlessly used the raw guitars to help transform his voice to fit the narrative. He created the standard for the “musical experience” and took listeners on a journey with each track. He was pure entertainment, and he will forever remain a legend.

With two shows in the works, created by the Cirque Du Soleil franchise, countless books, an exhibit at the Motown museum, a videogame and several other projects in the works, Jackson will continue to be a fascination in the world’s eyes. Jackson’s hometown of Gary, Indiana has even announced plans of building a memorial museum and performance complex in honor of the singer. But along with his moments of worship is the past that he can’t escape — even with death. According to reports, father Joe Jackson is fighting his exclusion from the will and is seeking a $15,000 a month allowance from his son’s estate. Regardless, his music and stamp on pop culture will remain, as more performers will come forth, naming him as their creative inspiration.

Rock on, Michael.
We still think about you and sing and dance in your honor. You are quite a “Thriller.”

The Strokes make a rocking comeback.

It seems like the music gods have finally delivered in response to the constant praying I’ve done. Now, don’t get my wrong — I was quite the fan of lead singer Julian Casablancas’ solo endeavor and found his performances full of spunk and eagerness…almost like a toddler going into the world for the first time.

But it seems redundant to say what a prominent figure the Strokes are as a collective unit. As a band. As the forefathers of indie-garage rock in the New York scene. Personally speaking, they were one of the first bands that got me into said scene, and encouraged me to be more excited to musically explore. And I digress with sappiness…

The Strokes banded together again last night for the first time in four years at a small club gig in London’s Dingwalls. Under the pseudonym “Venison,” they played a hearty catalog of hits for shocked fans and lovers of the five-piece. They performed tracks like “Reptilia,” “Last Night,” “New York City Cops,” and “12:51.” The secret show for less than 500 people is only the beginning for the group as they begin their venture on the festival circuit, including a headlining set at Lollapalooza.

“Holy shit-fuck,” Casablancas mumbled after concluding “Reptilia.” Well, yeah, that about covers it.

For decent videos of three of the performances, check out Rock it Out! Blog

In the genre of comedy, films can go in two directions—smart and satirical, taking hints from current events to prove a point, or dumb, stupid and brain dead. It is without any form of doubt that MacGruber falls under that latter.

As the few who still watch ‘Saturday Night Live’ know, MacGruber is a character created to reminisce on 80s action sitcom heroes. With a Farrah Fawcett ‘do and Brawny-man duds, leading man Will Forte takes a hint of swagger from heartthrobs such as Tom Selleck. However, underneath the stereotypically rugged appearance is a man that unravels when things go awry, listens to smooth rock, and has no qualms about bribing his competition with fellatio.

Will Forte plays action hero MacGruber.

The sketch-show version of the character showed promise—the maximum length of the plot, including the resolution, is no more than two minutes. However, when transformed for the shortest form of a “blockbuster film” (90 minutes), even the most immaturely amusing wisecracks grew redundant and somewhat trite.

Forte’s MacGruber returns from retirement to the scene of action-packed, explosion-induced crime fighting when his former commanding officer (Powers Boothe) shows his desperation to get a nuclear missile away from a vindictive arms dealer (Val Kilmer). After a freak accident caused MacGruber’s terrifying troop to erupt in a van explosion, the amateur bomb maker finds solace in his new teammates, played by Kristen Wiig and Ryan Phillippe.

Wiig, as per usual, plays a sometimes painfully awkward singer whose heart aches for the star — and she has the off-key melodies and corny lyrics to prove it. And Phillippe surprisingly stands firm throughout the tacky puns while playing the straight man with a goofy twist.

Although the jokes dumped throughout the film are bound to off-set viewers with titters, even a chuckle here or there, the outline and overall concept of the film had a limited amount of possible jokes from the get-go. These jokes, however, were oftentimes repeated, making the attempt self-indulgent for Forte. He seems destined for so much more than this.

Films created by the SNL franchise began with a glimmer of hope. Lorne Michaels was responsible for character branding that undoubtedly shook American culture. Needless to say, this isn’t The Blues Brothers, Wayne’s World, or even Coneheads. In fact, it’s a little more The Ladies Man, with a dash of It’s Pat.

Don’t see this film to expand your comedic understanding or to become quick-witted. Because, to put it bluntly, you won’t.

It was in 1865 that Charles Lutwidge Dodgson, known by most as Lewis Carroll, created the ultimate adventure of a spunky blonde-haired girl trudging through a dark and mad world where a queen decapitated her subjects and zany tea parties were a regular occurrence.

An array of interpretations followed the conception of “Alice’s Adventures in Wonderland,” including nearly 30 films, 10 TV shows and inspiration for bands such as Jefferson Airplane and the Beatles. Most well-known is Walt Disney’s take on the tale, although it has been criticized for being a soft and false take on the work.

Cult-movie hero Tim Burton veers in favor of the original in his twisted vision of “Alice in Wonderland,” starring Mia Wasikowska as a 19-year-old Alice.

Although the film is meant to be more of a sequel, she follows the spunk of Carroll’s child-heroine by making her independent and unwilling to settle, having hints of a pre-Suffrage Movement attitude.

In Burton’s film, Alice experiences reoccurring nightmares for more than a decade. These nightmares feature a white rabbit, a do-do bird and a mad hatter.

After Alice runs away from an intervention-like engagement party to a revolting redhead, she tumbles down the rabbit hole to follow the ever-timely white rabbit. Her childhood nightmares become a reality after she is knocked around the secret passage and makes her way to Wonderland. However she is told by its talkative inhabitants that it is in fact called Underland, not Wonderland.

As she meets the quirky creatures of Underland, Alice learns that she may not be new to the world at all. The Mad Matter (Johnny Depp) and his eerie accomplices show her the world’s bible, a trusted scroll called the Oraculum, which explains her past visits.

It also foretells the overthrowing of the evil Red Queen (Helena Bonham Carter) and the return of the pure-hearted White Queen (Anne Hathaway). For this to happen, though, Alice must first become true to herself and get her sense of “muchness” back to slay the Red Queen’s most deadly weapon — the Jabberwocky.

Alongside Depp and Bonham Carter, the cast features some of the acting world’s top creative minds, including Stephen Fry voicing a creepy Cheshire Cat and Alan Rickman as Absolem, the hookah-smoking Blue Caterpillar. The interpretations of these characters put a more intense and melancholy twist than Disney’s film.

However, with the elements of 3-D, CGI, animation and real life meshed together, it becomes borderline psychedelic and a sheer trip for an all-age audience.

Although Burton’s elements for the physicality of Underland are creative in execution, the final product seems somewhat expected. It’s a journey half-way there — a goal reached, but not quite met. More so, it seemed that certain inner-characterizations were lacking.

Depp’s Hatter was spot-on, with him getting inspiration of the Hatter’s bi-polar outbursts and orange-tinged fingertips and hair from pure research. Felt hats made in the 18th and 19th centuries contained mercury and seeped into the skin, causing mental illness and a hint of tangerine, making the character scientifically accurate and entertaining.

However, the overall message of “Alice” falls flat. The concept of discovery and the power of the inner-self are hinted at, especially by the Blue Caterpillar. It’s evident that when it comes time for the movie’s end, the resolution of the plot is met, but for the characters it is insignificant. This makes the conclusion less-than-satisfactory, when in fact, it should be victorious.

I’ve never been one for Oscar tributes. They seem over-indulgent and present the person in a false, higher light. However, there was always something about John Hughes that was underestimated. It was normalcy. An interpretation of adolescent life that no one could NOT relate to. I grew up watching “Pretty in Pink,” “Ferris Bueller’s Day Off,” “The Breakfast Club,” etc., and could always manage to find a character or situation that hit so close to my life that it was painful. Specifically, “The Breakfast Club.” I wanted to be Claire so badly, but I was stuck in the life of Allison. All young, awkward teenage girls understand that life. However, Hughes’ characterization of every outcast was believable. Not stereotypical, unnecessary or just plain wrong. There’s a piece of all of us that lives that life. Unsure, scared, angry. Those genuine emotions stay with a person forever, and I’m thankful the work of Hughes is eternal, and will remain relevant in teen culture for years to come. Who knows, maybe longer than that.

“I always preferred to hang out with the outcasts, ‘cause they were cooler; they had better taste in music, for one thing, I guess because they had more time to develop one with the lack of social interaction they had.” —John Hughes