HOW CAN YOU READ THIS? THERE’S NO PICTURES!, Ep. 1: The Crossroads, Laurel Canyon + Mulholland Drive

Pop Culture, Vinyl Mind Flow

VINYL MIND FLOW #OKGO

I riffed on Laurel Canyon and Mulholland Drive into a recording device for eight minutes and forty-nine seconds: this is the verbatim transcription.

Okay, fifteen minutes. I’m at Mulholland and Laurel Canyon. So, I guess the most fitting thing for me to do at this point would be to talk about what Laurel Canyon and Mulholland mean to me. Fifteen minutes. So we’re on the clock, and we’re twenty seconds in: so, to me, Mulholland Laurel Canyon is just The … I wanna say The Fame. Oh. I wanna say The Fame, but it is fame: it’s American fame. What is The Fame to me? Mulholland and Laurel Canyon are Hollywood. It’s Cal – it’s … we’ll figure it out together.

Laurel Canyon is the Hippie Movement, right. It’s this, y’know, makeshift cobblestone ver– y’know, sloping – It’s… this canyon. It’s a canyon. It’s a cavity. It’s a cavity; but it’s the vein, and it’s the artery at the same time. Y’know like, you get traction. Y’know Laurel Canyon is the Hippies, is the Sixties, it’s the counterculture. It’s Janis Joplin, Jimi Hendrix, Jim Morrison. Umm, it’s an odd counterculture. It’s very calm and weathered. And then you’ve got Mulholland, which is fame to me.

Spectacular Carnage c/o Leland Wright

Media, Pop Culture, re:brand, re:brand – America, TK:LA

Our generation’s world war is via media, we sacrifice our daily realities for projected purpose and prominence… eye-deep in student loan debt, creating daily content free of charge to the nation’s most profitable private enterprises, data for days, the only lines shorter than the unemployment call sheet – for the good of the country, for the sake of free enterprise, for the economy, for the shareholders and foreign investors: for free WW.3 #spectacularcarnage. This manifesto is the spirit of Leeland Wright‘s work.

leeland-wright-red-art-nouveau-magazine

“Media Heads”
as told by Leeland Wright

Vinyl Cut Prose: Britney Jean

Pop Culture, Soundtrek, TK:LA, TrapperKeeper, Vinyl Cut Prose

I’ve spent the past two years since Femme Fatale mastering the art and science of global media and communication with Britney as my canon. I don’t really need to prove anything, and apparently neither does she; because Britney Jean founds and finds itself in that, it breathes … I appreciate Britney Jean.

Holding the thread close to a dream, while intelligence becomes the steal
For what if gold, showed token sold, while manners abright and rightfully bold
Make a wish, a princess dream, unfold the map, a small lil bean
To vanish the air and trace out the new, so scared to love, so soon who knew
Beautiful voice creeps in my head, only one person person can wear this red
Traces behavior, young and small; I see land, I must fall

 – Britney Jean

Linger in the legacy… intelligence as the steal is Britney Jean – no, she is not GaGa, nor Madonna, nor is hers the aspired claim on their cerebral domain, that knowledge which detaches one from visceral humanity… that spark to light the first morning star. Yet, only one can wear the red, the Scarlet Letter Britney dons instead… And so seeing land, she must fall; that grounding rooting the human and iconic plight – from dust we came and to dust we return, no matter how high the peak flight.

131101-britney-spears-musical

This is the record of someone who’s already been where you want her to stay, but that’s the point – you can’t evolve, and still return to that place unchanged. But you’ll never see it that way, because you’re not thee.

Revealing itself much like a sunset over the Hollywood Hills… we have an aural venture through lightly hued layers of majestic technicolor faded, ascending as a systematic rise within the naturally spectacular, muted neon chromatic escalating to the heavens, forever rooted in the Canyon, steady upon the capitalized moniker of America’s finest institution – studio stardom.

VMA Day 2013 – Four Butterflies to Watch #heylookamonarch

Pop Culture, Soundtrek, TrapperKeeper

Honeymoon isn’t even the furthest stretch of one’s falsified imagination when it comes to the Video Music Awards since 2010 #generous This year, I …. okay, I don’t actually know half of the nominees, and I might not have heard of 75% of the songs, but I can pick up a pattern from a mile away #universallaw #fortherecord

No one can predict the future, but we can recognize the present – and that’s good enough for me. Four butterflies to keep an eye on when watching the monarchy tonight… #theeverythingelse

1.) “[T]he renaissance of Pop Art and a Warholian world of blurred lines between reality and fantasy”

Sedgwick Germanotta

[T]angent. Point is: Edie said of herself something that resonates so deeply with GaGa tonight, “if you just listened to what I had to say it was sane, but if you just looked at me you wouldn’t bother to listen. And none of them did. God it was a nightmare.” There isn’t that futility with GaGa, but the nightmare is quite apparent. Performance artists live their art — completely. The world is their canvas — truly. Where the art succeeds, the artist suffers, but it is for the sake of art — even if only for art’s sake.

2013:

2.) Jimmy Timberlake 

SnappScenes: “Applause” – Lady Gaga

Anthropopogy // Culture, Deconstruction, Soundtrek, TK:LA, TrapperKeeper, Vinyl Mind Flow

I live for the applause, applause, applause – I live for the applause-plause, live for the applause #paws

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What I loved about Alejandro

This is the drop after the first waves and floods: I’m not here to talk about her facial features, or how to convert atheists into believers; I’m just saying that somewhere in the midst of a[n] indie short film, and a scene-by-scene homage to immaculate conceptions – and collections – lies a near perfect Pop music video period. Is pastiche supposed to be coherent? It is now – let’s delve.

What was lambasted in Born This Way

I don’t know where to begin or end with this one… and I suppose that’s the best way to be – as there is no beginning or end to the perpetual renaissance What artists do wrong is they lie, what critics do wrong is they try; I’m not going to try and pretend I know every conceptual reference here, nor analyze from a detached place of fault-and-fact finding – this isn’t about Pop cheat sheets and checklists… I’m just going to riff on what I know for me, and what I see

What lingered along the fringes of Scheiße

Lady Gaga broke her notoriously extended hiatus, premiering her first mastered piece of “new music” … Those two years of antagonizing anticipation culminated into the club-pulsing climax … Forget the fact that this may or may not be what you wanted to hear from someone about whom you may or may not give a scheiße – ether that; from start to finish, career and current track, no one – no one female Pop body – can produce: produce, what Gaga can. Line after line, time after time: perfection – the wait is always worth it.

There’s the flawlessly deft production we’ve come to expect from the Haus mother … stratospheric synth, deep bass, smooth distortion, uncannily human reverb pulsing the cacophony. Gaga lends her voice as an added layer, as much a part of the score as the bevy of inanimate instruments behind her

Eye Lights

Lady Gaga has solidified her sonic aesthetic and social impact – and they are one in the same. If the backbeat pulses harder than my own heartbeat, why not dance together? This is cold technology and hot harmonies, sheer energy, factory fashion, raw humanity, grime, graffiti, and glitterbombs; this is stream-of-consciousness that doesn’t make sense now, but will before the rest of the globe makes sense of itself: this is 31st Century schizo world – welcome Haume.

Four

Is what lays the foundation for “Applause:” The pulse as nothing more, and never anything less, than the traverse between polarity

– once you know the system’s rhythm, all that’s left to do is choreograph the rendevous #multiversallyspeaking

#snappit

The pulse, DJ White Shadow delivers Detroit – and so goes the nation. As far as I’m concerned, they laced the instrumentation with something not-entirely-approved by the FDA. Whether it’s the sonic robot-slap-to-the-face first spin, the morning-after pulled muscles result of a dolo dance party, or the realization that the method is in the systematic mania of said robot slap track – there is something unnatural about this rhythm: unnaturally human. It hollows and speaks at you in sophomoric platitudes, then it eases off while your guard remains staid, eventually you feel the tone thaw as the beat rises… it’s like Motown overtaking the machine, SoundScan beneath the Supremes… when you sing along, you’re fed the applause (whether or not you clap – the roar is the backing track): live to create, die to protect.

#vinylcutprose

Ms. Education – Neurotic Society (Compulsory Mix)

Politics, Pop Culture, SnapTrakks, TrapperKeeper

MLH NS CM

Neurotic Society

We’re living in a joke time, metaphorical coke time
Commerce and guru men, run the whole world man
Broke world and debauchery, old world brutality
Cold world kills softly
Whole world works savagely
Greedy men and pride fiends program TV screens
Quick-scam and drag queens
Real life blast fiends
Think twice this past dream

The Re-Branding of America: Kid and Sean Pen a PSA…

Politics, Pop Culture, re:brand, TrapperKeeper

Fellow Americans, it is with the utmost pride and sincerity that I present this recording, as a living testament and recollection of history in the making during our generation.

Let me tell you dudes what I do to protect this: I shoot at you actors like movie directors [laughing] This ain’t a movie dog

Kid Rock and Sean Penn would like to borrow a moment of your time and illustrate the grave importance of overlooking the narcissism of minor superficial demographical differences in light of the larger union we share as an American people… that while the differences we hold as private citizens are what made this country great, it is the collective freedom granted to the public which defines those who call the United States home… celebrities: because they’re just like U.S.

The Re-Branding of America: On the curious case of Mitt & Paris’ Publicized Privacy

Politics, Pop Culture, re:brand

“Mitt Romney” and “Paris Hilton” are going hard-press-in-the-paint right now. Note the quotations, because when it comes to celebrity and public figuration: there’s the brand, and then there’s the (wo)man… here, beyond the (yet-to-be-determined) human factor behind the individuals, their enterprises are functioning like well-oiled machines.

It’s kind of like best week ever, right?

Paris is a mistress of the mishap-turned-publicity-masterpiece, Romney is not far behind in his ability to grab headlines with oddly well-staged gaffes.

The past week has seen both go viral with unsuprisingly on-par brand pushes: Romney doesn’t care about untaxed people, and Paris “Puddle of AIDS” Hilton thinks gays are gross… in other news: citizen paparazzi caught The Cookie Monster smuggling Snickerdoodles packaged as Sprouts’ Summer Squash into his Sesame Street penthouse…

So how does one figure these “mishaps” and “private conversations” gone public play as brand determinants and not character detriments… let’s delve a bit #itsaprocess

Street Brilliance: The Illusion That It’s Safe, Detonate Uncool.

Politics, Pop Culture, SnapTrakks

This deal is getting worse all the time… #thenudeal

He just sits and waits for them to kick in the door
He once was a hero they don’t love him no more
There’s a blast, every time a foot hits the floor
His gift for not fighting another man’s war
And if they can get their hands on the mask that he wore
On his face, they can put somebody else in his place and restore
The state, the illusion that it’s safe – the faith, that being a slave is so great
As gas fills the room and rockets destroy everything around him
He stands to find himself surround
By thousands of soldiers that his once trained to never miss their targets

#heartless

Detonate, uncool.

#watchthisspace

On the curious case of celebrity and contemporary culture…

Pop Culture, TrapperKeeper

Celebrity serves the purpose of highlighting otherwise opaque social relations, conflicts, concerns, and realities. That which is the fueling, seemingly banal everyday existence of the masses doesn’t manifest itself into anything of social significance until an icon framed to represent and vividly portray the beautiful burden of an attributed demographic brings it into public discourse.

The celebrity brings with it an entire economy. It is the commodity, the product and property of a corporate entity, a media monarch within the greater sphere of private ownership of a public institution – a public figure within capitalist society. Money, power, and reference run through iconographies.

Equally, celebrity brings with it an entire ideology. It is the character, the product and property of a ruling class. It may reinforce, resist, reject, or repudiate the standing social order. It is also the product and property of the masses from which it emerged, and which it directly influences and impacts – it is the manipulated mouthpiece of an increasingly superficially divided monoculture.

Collectively, the celebrity is the glue which holds together the real and ideal, the producer and the product, the dominant and resistant, the private and the public.

The celebrity sphere is a stage; lone figures act as pieces of a not so much puzzle as a chess board – white/black, soldier/sovereign, pawns and monarchs as symbols of the social classes to which they have the role of playing dual servants: as owners and as slaves.

What celebrities do are not personal acts, they are public displays of hidden banal behaviors. Epithets, for instance, are contemporary conversation pieces, slander is the modern standard language. What was a moot point, what was an actively apathetically accepted atrocity, and debatable defamation pulsed postmodern society in the form of language – that most vulgar, the vernacular.