Let’s say, for instance, you were at the forefront of popular culture in the free world, soon to be deposed and cast to a life of relative reality. If you were to host a party celebrating, commemorating and memorializing the occasion in the United States of America, who would you invite? With a good head on your shoulders, and among your own personal favorites, you would attempt to speak to the populace, who have chosen against you in the years ahead, allocating goodwill while bracing for the impact of an unforeseen, unpredictable regime.
On Tuesday, President Barack Obama bestowed what will presumably be the final twenty Presidential Medals of Freedom of his record-setting Presidency, in which he dispensed more than any other in history. The man knows how best to leave a party, it seems. In returning to that question, who would play your societal funeral?
Twentieth Century Fox
While searching for the pickle in the tree and refusing to acknowledge any Clintons that aren’t George, Sanders that aren’t Barry and Trumps that aren’t playing cards, spare a thought to a film still struggling to validate its identity. In a recent poll, the greatest Christmas movie ever was deemed to not be a Christmas movie at all. The tragedy here is clear: it’s time to recognize the holiday overtones of the robbery at Nakatomi Plaza because Die Hard is a Christmas movieº.
The Oath of the Tennis Court, Jacques-Louis David
On June 20, 1789, a group of peasants, serfs and wage-laborers, representatives of France’s lower-class Third Estate, found themselves locked out of a meeting in Versailles which King Louis XVI ostensibly called to formulate strategies which could pull the nation out of a state-induced financial crisis. Outraged, the oft-ignored Third Estate reps decided to call a meeting of their own, which they held on a tennis court, and at which they signed an oath against the heads of state which eventually led to the French Revolution. Historians now cite the Tennis Court Oath, originally an act of desperation from an outraged people, as one of the most important events in European history, and we continue to feel its reverberations today.
On Wednesday, a different revolution from a different outraged person occurred roughly fourteen kilometers from Versailles on another tennis court. Its effects, while far less deleterious to the French government, could have a similarly wide-reaching impact on the status quo, particularly the oft-ignored, #1-ranked player and the reigning king against whom he staged his coup.
First of all: I feel inclined to admit that I only found out about Courtney Barnett a few weeks ago, so shame on all of you who knew about her and kept her a secret. You know I like great things.
Ode to Earl, we hardly knew ye.
In the interest of full disclosure, here is a somewhat abridged account of my relationship with the Avett Brothers as a musical entity: one night in the autumn of 2008, when I was probably seventeen years old and a junior in high school, I was riding in the backseat of my friend Carrie’s blue Jeep with two of my other good friends, Justin and Morgan, around the streets and highways of South Carolina. Cycling through the tracks on a mixed CD and/or the shuffle function on her iPod (I can’t remember for certain, but I know there was a huge collection of CDs in that automobile), she landed on something that was new and exciting to me but which had become, to my admittedly much cooler friends, something of a way of life. This was the first time I heard the opening strums of “Die Die Die,” the first song on the 2007 album Emotionalism, and it tore up every Hendrix-laden notion of my personal preferences at the time. Bruce Springsteen once said of Bob Dylan’s “Like a Rolling Stone” that it “sounded like somebody kicked open the door to your mind.” In the context of my own teenage taste, the same explosion happened in that Jeep.
Courtesy of media.nj.com.
With this week’s conflicting reports of quarterback Mark Sanchez either being out for the season or, at the very least, being out for the foreseeable future, many Jets fans, myself included, have come to the conclusion that the rollercoaster of Sanchez’s time on the Jets has, for all intents and purposes, come to an end. What began with relatively high hopes and two straight AFC Championship Game appearances will most likely end with many CBS cutaways to Sanchez on the sidelines in a hat trying to look supportive of his apparent successor, Geno Smith. Flashes of his unkempt hair and seven o’clock shadow during timeouts will constitute the majority of the attention he receives here forth, and the announcers will perceive his happiness as having an inverse correlation with Smith’s success as the season progresses. Sanchez has taken the Jets and their fans to higher highs and seemingly bottomless valleys over the course of the last five years, and now that he seems to be on his way out of the city which had once been so keen to christen him as the long-awaited successor to Joe Namath, it is time to reminisce. Hopefully (I guess? Being a Jets fan is confusing, and not just for the idea of actually being a Jets fan), Sanchez will not make a Willis Reed-like return in the fading weeks of the season to bring the Jets to the brink of the playoffs and then go 5-21 with 4 interceptions and a lost fumble in Week 17. That would render this piece premature and really take some of the fun out of it. And yet, that would be a perfectly Mark Sanchez-with-the-Jets thing to do. In fact, it would simply be a perfect Jets thing to do, as this franchise loves to string its fans along with enough promise to keep the team interesting. Then, just when we think the team is ready to finally strangle the monkey on our back, the team realizes it is still the New York Jets, and we return to mediocrity under the most judgmental media magnifying glass in this country. With all that said, what follows is a look back at Sanchez’s span in New York, as told through the universal language that is pop music. Read More