Book Review: The War on Science by Shawn Lawrence Otto

The War on Science: Who's Waging It, Why It Matters, What We Can Do About It by Shawn Lawrence Otto
My rating: 4 of 5 stars

A must read for anyone who wants to understand the current political climate. The hostility aimed at scientists gets worse each year as our society continues to slip. Otto provides a history of the tensions between science and civilization and its three main adversaries of the moment: religious zealots, corporate PR machines determined to discredit global warming, and some post-modern academics who dismiss science as "just another way" of looking at the world. As Otto points, science differs from other fields because it relies on overwhelming evidence to support itself, using experiments to confirm their conclusions. The amount of anti-intellectual nonsense out there is overwhelming, people willingly working against the future. At the same time, Otto calls out his fellow scientists to engage better with the public. My only criticism is that the book gets repetitive at times, but still though provoking.


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Book Review: Jason Molina: Riding with the Ghost by Erin Osmon

Jason Molina: Riding with the Ghost by Erin Osmon
My rating: 4 of 5 stars

I knew little of Molina's music, but I was interested in his story since I'm also from Northern Ohio. Osmon's book is well written and provides a clear enough portrait of Molina, but he remains somewhat mysterious at the end. Although his music was never "commercial" it certainly inspired many other artists who went on to greater success. The final part of the book covering his descent into alcoholism is horrific and really sad, an all too familiar story of addiction. I only wish there had been more context on his relationship to the music scene of the 1990s and 2000s: Was Molina merely a regional phenomenon? Was he part of some larger folk revival? Or an iconoclast showing a new generation of musicians a way forward? Riding with the Ghost is a step above most rock biographies, neither a hagiography nor loaded with overheated criticism, just good solid journalism.


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Best Movie Podcasts of 2018

It goes without saying that podcasts have proven themselves to be the next wave of film criticism and appreciation over the past decade. There are also many varieties of movie podcasts. Perspectives range from industry insiders, dedicated cinephiles, and film academics. Many feature interviews, but not all. Some formats are very structured, others less so. The best podcasts are well produced, insightful, and welcoming to new listeners. 

The Projection Booth Podcast  

Launched in 2011 by Mike White and Mondo Justin (who has since moved on to other endeavors), The Projection Booth is a weekly podcast that initially focused on cult films from the 1970s and 1980s, but now covers a wide array of movies from different genres and eras. More than any other podcast, The Projection Booth changed the way I look at movies. 

Each show begins with Mike and his co-hosts discussing the week's film, their own personal histories with the movie, and its connection to other movies. The next segments are typically interviews with cast and crew from the production or authors who've written about the film.

The Projection Booth has a reputation for long episodes, a few have run over six hours, such as their detailed coverage of Conan: The Barbarian, Star Wars, and The Magnificent Ambersons. Most episodes clock in around 2-3 hours. Often there are theme months: September or "Czechtember" looks at Czechoslovakian movies, October is naturally reserved for horror, and November is set aside for film noir (Noirvember).

The Projection Booth is for movie fans who appreciate a deep dive into film analysis and history. Episodes may convince you to look at your favorite movie differently, or discover new films you won't hear about anywhere else.

Highlights from 2018 include episodes on: Exorcist II: The Heretic, The Getaway, Kings and Desperate Men, Figures in a Landscape, The Parallax View, Scarecrow, Falling Down, and The Long Goodbye.


MovieFilm Podcast    

A bi-weekly podcast hosted by film critic Zaki Hasan and comic book writer Brian Hall, Movie Film Podcast focuses on new releases and features commentary on entertainment news. Each installment reviews a new release and includes a spoilers segment. Zaki and Brian also break down the business side of the industry, analyze box office returns, and track upcoming releases. Zaki and Brian also release film commentaries on major franchises of the past. Their recent commentary track on Robin Hood: Prince of Thieves from 1991 did a fantastic job of looking at the film as one of the last pre-CGI summer hits. Zaki also hosts a monthly podcast, Nostalgia Film Theater, that features quality interviews on pop culture history.

The Faculty of Horror      

Toronto based film academics Andrea Subissati and Alexandra West host the monthly podcast Faculty of Horror. Each new edition features commentary on the horror genre and its history. Some episodes focus on one film, while others take a more thematic approach. They approach horror from a socio-political and feminist perspective, their academic minded analysis is accessible and educational.  Andrea and Alexandra have built a great chemistry over the years. I would recommend every episode from 2018 for new listeners. Their most recent episode on The Stepford Wives and Get Out is a master class of film analysis. Start there!

Movie Geeks United      

A pioneering podcast, Movie Geeks United is now in its 11th year and still going strong. Movie Geeks United has a vast archive of interviews with some of the giants from cinema history, cinematographers, film score composers, and editors talking about their craft. Hosted by Jamey DuVall with co-hosts Dean Treadway, Jerry Dennis, and Adam Long, A weekly podcast, each new episode covers the latest in movie news and features reviews of the newest releases. Each month a show is devoted to home entertainment and blu-rays. Their groundbreaking series on the films of Stanley Kubrick and Brian De Palma are film studies courses in themselves. For 2018 the show stuck to their basic format. Highlights include their their look back at summer 1993 releases and a debate on whether Netflix is good or bad for movies.

Horror Movie Podcast     

Horror Movie Podcast was one of the first podcasts I began listening to in what seems like a lifetime ago. Hosted by Jay of the Dead, "Wolfman" Josh Ligairi, and Dr. Shock, Horror Movie Podcast is bi-weekly and covers all the new major horror movie. They also have a vast archive of content on the history of horror franchises. The style is freewheeling and engaging; their devotion to the genre and the variety within it are endearing. Highlights from 2018 include a two part series on religion and modern horror back in July. Also don't miss their coverage of Halloween and the end of the year shows that reflect on the state of horror on movies and television. 

'80s All Over     

The '80s All Over podcast began by covering the major releases of January 1980. Each subsequent edition moves in chronological order through the decade. Hosted by Scott Weinberg and Drew McWeeny, both bring a fresh perspective to movies of the Reagan years. Part of the show's appeal is how perspectives of film from the decade have changed, specifically in regard to issues of representation as they relate to class, race, sexuality, and gender. A highlight from this year's season would be the episode covering the films that came out in June of 1984, a fateful summer in movie history (Temple of Doom, Gremlins, Ghostbusters, Wargames, The Terminator). 

The Movies That Made Me    

A new podcast from the folks behind the Youtube channel Trailers from Hell, The Movies That Made Me is hosted by screenwriter Josh Olson (A History of Violence) and famed director Joe Dante (Gremlins, The Howling). Each episode features a special guest talking about the movies that shaped their life.  Memorable episodes include Illeana Douglas on great movie scenes, Keith Gordon on political cinema, and Ron Perlman just talking about life. I look forward to seeing their guest list for next year.

The 4:30 Movie       

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Another podcast that debuted this year, The 4:30 Movie features a panel of four regular hosts (and an occasional guest) who take a novel approach to podcasting: each episode plans a week of TV programming, rebooting a concept based on the classic TV stand by of the week day 4:30 movie, a staple of local TV stations in the days before cable. The hosts like to joke around and don't take each other too seriously, but they do take the movies seriously. Seek out the episode devoted to a week of Spielberg movies. 

Maltin on Movies                   

Leonard Maltin's been a leader in film appreciation for decades. His annual Movie Guide was a perennial purchase for movie fans everywhere. Maltin's podcast continues to celebrate film. Co-hosted with his daughter Jessie, the format is a weekly one hour interview with an eclectic list of group of guests. Memorable episodes from 2018 include a visit from a loquacious Al Pacino, director of Black Panther Ryan Coogler, and Jordan Peele who wrote and directed Get Out. 

Movie Sign with the Mads     

Alumni of Mystery Science Theater Trace Beaulieu and Frank Coniff and comedian Caralina Hidalgo get together and discuss a new film each week. They tackle new releases and the classics. A standout episode for me was It's a Mad, Mad, Mad, Mad World, the all star comedy from 1963 and the 1955 masterpiece The Night of the Hunter. Each episode runs around 45 minutes, always humorous and insightful.

Musical Notation      

For those who enjoy film scores, Musical Notation is a weekly podcast on the fine points of cinema and music. A big plus is that each episode is only 20-25 minutes, they're informative, fast paced, and feature great music. Musical Notation's host West Anthony covers all eras in film music. His ongoing series on the great director/composer collaborations such as Alfred Hitchcock/Bernard Herrmann and Steven Spielberg/John Williams are great ways to revisit those movies. 

Conclusion

So that wraps up the best of podcasting for 2018. All of these are available on itunes and are easily accessible with a google search. Finally, there are many of other movie podcasts out there and I hope to discover more new ones this coming year. 

Book Review: Let's Go (So We Can Get Back): A Memoir of Recording and Discording with Wilco, etc.

Jeff Tweedy, founding member of Uncle Tupelo and Wilco, has penned a moving memoir about the creative life, family, and the Midwest. Tweedy's tone frequently shifts between playful humor to heavy going meditations on how confusing and painful life can be. Let's Go also plays with the form of one of the hackneyed genre of books, the "rock memoir." Tweedy is self deprecating and insightful on the evolution of music over the past decades.

Tweedy's reminisces of growing up in Belleville, Illinois, about 30 miles west of St. Louis, are a highlight. He avoids the wistful nostalgia of Jean Sheperd, but gives a realistic portrait of a region in decline in the 1970s:

In reality it was pretty depressing. Depressing and depressed in all of the familiar ways common to dying Midwest manufacturing hubs: a lot of old empty buildings and a lot of occupied bar stools (1).

His father worked for the railroad, while his Mom was an interior designer. Jeff's siblings were much older so he grew up as an only child. Tweedy formed a close bond with his Mom because his Dad worked long hours, a functional alcoholic who drank a 12 pack of beer every night to relieve the monotony of his work. Despite the slightly dysfunctional household both parents supported Jeff in his pursuit of music.

In High School, Tweedy befriended classmate Jay Farrar, with whom he shared a passion for punk records. Farrar came from a musical family and served as a sort of mentor to Tweedy even though they were same age, encouraging him write his own songs. Uncle Tupelo would record four albums from 1989-1993 and gain critical attention as the "alt-country" band. As Tweedy's confidence as a singer and songwriter grew, the partnership frayed and ended in 1994. Farrar would start his own band Son Volt. Tweedy formed Wilco out of desperation, uncertain if he could lead a band, but eventually found the experience to be liberating: 

when Jay Farrar quit the band, I went really quickly from feeling despondent to some place of excitement and curiosity. It really was the cliche of one door closing and another opening (124).

Wilco would build an audience in time through non-stop touring and gain recognition as a premier American band. Their 1999 LP Summerteeth begin an experimental phase, abandoning traditional rock in favor of pushing studio technology to the limits. Tweedy also began to take inspiration from modern literature. Wilco's 2002 release Yankee Hotel Foxtrot became a touchstone album of the decade in more ways than one. The music found it audience in a novel way - the internet. Album art and cryptic lyrics were oddly in sync with the post-9/11 climate hovering over America.

Tweedy also sets the record straight on a tumultuous time for WIlco, specifically the firing of his main collaborator during that era, Jay Bennett. A gifted multi-instrumentalist and songwriter in his own right, Bennett brought an energy that pushed the band creatively. Bennett's addiction to pills and creative differences with Tweedy led to tensions and Tweedy fired him from Wilco, a drama that played out on the 2002 documentary I Am Trying to Break Your Heart. Bennett passed away in 2009 from an overdose, news Tweedy dreaded to hear. But he also credits the move with saving his own life and facing his own addictions.

Aside from music, Let's Go is about Tweedy's maturing as a person, husband, and father. He entered rehab to kick his addiction to pills (due to anxiety and recurring migraines he struggled with since childhood). Tweedy's accounts of losing his parents and supporting his wife through a cancer scare are harrowing and moving. 

Now in a somewhat more comfortable place, Tweedy now makes music with his two sons and still tours with Wilco. He's become a notable producer, his recent work with Mavis Staples is especially notable. While the book never directly addresses the changing perceptions of Wilco from being the hip "American Radiohead" to the passive-aggressive sobriquet of "dad rock" bestowed on them by Pitchfork. Jeff acknowledges his fans have matured along with him and the band.

Let's Go is everything a good memoir should be. There's witty anecdotes, wry humor, and a literary touch. The writing style is direct and accessible. Tweedy's often self deprecating and goes out of his way to demystify the mystique of the songwriter, crediting much of his success to luck, family support, and work ethic. Tweedy's also generous towards his influences and is himself a walking encyclopedia of music history. 

Election Day Playlist - 11-6-18

Election Day Playlist

First they came . . .

First they came for the socialists, and I did not speak out—
     Because I was not a socialist.

Then they came for the trade unionists, and I did not speak out—
     Because I was not a trade unionist.

Then they came for the Jews, and I did not speak out—
     Because I was not a Jew.

Then they came for me—and there was no one left to speak for me.

- Martin Niemoller (1892-1984)

Book Review: Trouble Boys: The True Story of The Replacements by Bob Mehr

The Replacements were Paul Westerberg, Bob Stinson, Tommy Stinson, and Chris Mars. All from Minneapolis. Author Bob Mehr spent 10 years working on the book that tells their entire story. Mehr immerses you in their world, allowing the reader to be a fly on the wall in their wild journey through the Midwest and beyond.

Bob and Tommy Stinson were half-brothers who grew up in a climate of abuse and alcoholism. On the path to juvenile delinquency, they found purpose in music. Paul Westerberg came from a more stable background, finding music to be a salve against the repression of the Midwest. Tommy was only 13 when he started playing bass for the band, his brother Bob was the unpredictable lead guitarist. Westerberg wrote his own material and honed a charismatic stage presence, confrontational, but never boring. Chris Mars was the drummer, always a bit more restrained than his band mates  (except when he sometimes appeared as his crazed alter ego Pappy the Clown).

The Replacements emerged out of punk and their early performance style was anarchic, but their influences were far more varied than most punk bands, something that made it difficult to put them in a box. It's as if the Beatles began their recording career during their Hamburg days. Above all, alcohol fueled their stage presence. Some nights they were brilliant, other nights they could barely stand up.

Always a critical darling, the Replacements never managed to hit the massive popularity that always seemed to be within their reach. While all their albums are excellent their string of records from 1983-1987 included Hootenanny, Let it Be, Tim, and, Pleased to Meet Me all represent the best of 1980s alternative rock. They refused to make videos until the end of their run and had habit of sabotaging themselves at key moments. A 1986 appearance on Saturday Night Live was marred by their drunken backstage behavior, trashing dressing rooms and slurring vocals during their performance. In 1988 they opened for Tom Petty and the Heartbreakers and failed to connect with stadium size crowds so they began to parody Petty who they found to be a bore (Petty made 250 grand a show, while the Mats made peanuts)

The band prided themselves on being great when they felt like it. If audiences were indifferent, they got confrontational. Melancholy also followed the band, in 1986 they finally fired fired Bob due to his erratic behavior, replacing him with Slim Dunlap who proved a more calming presence. Bob passed away in 1995. The book opens with a heartbreaking account of Bob's funeral, a scene haunting the entire book.

The later albums were more polished with the hopes of producing hits, the closest they came was the perfect power pop of "Achin' to Be." Things came apart slowly as they came to terms with their addictions and moved on. REM was set up as their rival, their more successful counterpart of the 1980s alternative scene. Their devoted fans included Tom Waits (their drunken adventures with Waits are another highlight) and Bob Dylan. They found a kindred soul in Alex Chilton, founding member of the legendary Memphis band Big Star, who served as a mentor of sorts to the Mats. Rumor had it their fellow Minnesotan Prince sometimes sneaked into their shows. Just a rumor. 

Trouble Boys is a hardscrabble tale of Midwest guys who went for it all and almost made it. Beautiful loser tales generate their own unique drama and Mehr tells their tragicomic story in all its glory. In between all the debauchery were genuine moments of humanity, desperation, and existential foolishness. And great music.