A Valentine From De La Soul

"Love sought is good, but given unsought better."

-William Shakespeare, Twelfth Night (III.i)

The best valentine that you, or anyone, will receive this year comes courtesy of the legendary hip hop trio De La Soul. In celebration of the 25th anniversary of their classic debut album 3 Feet High and Rising, the group is offering their entire discography for free download. Repeat: the entire De La Soul catalog can be legally downloaded for free via the group's website; from 3 Feet High and Rising and De La Soul is Dead (endlessly inventive albums on which producer Prince Paul completely redefined the art of sampling in popular music) to their more sober-minded '90s work and beyond. This give-away is not limited to studio albums, so even devoted fans can find rarities and instrumentals for download. This is an extraordinary opportunity to familiarize yourself with one of the most innovative musical acts of the last quarter century. But, you've got to be quick about it, as the offer expires when Valentine's Day expires.

The Hollow Crown: Richard II

The BBC has long been expert in adapting Shakespeare's stage plays to the screen. Every great Shakespearean actor since the advent of television has made an appearance in these adaptations: Judi Dench, Ian McKellen, John Gielgud, Anthony Hopkins, Patrick Stewart, Laurence Olivier, and countless other esteemed performers. The latest entry in this venerable tradition is The Hollow Crown, an adaptation of the Bard's second tetralogy: Richard II, 1 and 2 Henry IV, and Henry V. These closely connected history plays cover the--sometimes attenuated--reigns of these eponymous English kings: "how some have been deposed; some slain in war, some haunted by the ghosts they have deposed; some poison'd by their wives: some sleeping kill'd; all murder'd".

The first in the series, Richard II, can be summarized as the downfall of a young, wastrel monarch, Richard, and the rise of Henry Bolingbroke, beloved of the people. Given the author of this play, you are right to assume that there are endless layers of complexity to this history tale. In The Hollow Crown, Richard is played by Ben Wishaw, an actor that 007 fans will likely recognize from his role as Q in Skyfall (2012). Wishaw's performance as the doomed king is extraordinarily nuanced, as he alternates between imperious condescension and near-lunatic self-pity.

One of the earliest standout scenes in the adaptation is Richard's combative conversation with John of Gaunt, played by the illustrious Patrick Stewart. Gaunt is ill to the point of death in this scene, and is essentially using his poor health as an excuse to clear his conscience and tell the young king what he really thinks of him. Patrick Stewart is more than twice Ben Wishaw's age and is playing the part of a dying man, yet his repudiation of the young monarch is so forceful, so powerfully conveyed, that I actually felt concern for the wilting king. (Stewart has such gravitas that I'm convinced he could have done justice to any of the roles in this film. Yes, the queen included.)

Bolingbroke, the man that will inevitably take Richard's place on the throne, is a very different type of adversary. He isn't quite the ambitious lord that Richard believes him to be, but rather a man just ambitious enough to allow the forces of history to make him king. Remember, this is Shakespeare we're talking about, so the question of a character's motivation is never a simple thing. Bolingbroke is played by Rory Kinnear, also an alumnus of the 007 series. His performance is far less demanding than that of Richard, the hysteric, but he does a fine job of conveying his character's conflicted loyalties, as well as hinting at his dawning realization: "Uneasy lies the head that wears a crown."

Richard II is, admittedly, a fairly grim affair. Apart from the king's absurdist self-pity, there is little in the way of humor. But, the following Henry IV plays feature one of Shakespeare's most beloved creations: the corpulent, riotous, corrupter of youth, Sir John Falstaff.

Josh Ritter: The Beast in Its Tracks

Josh Ritter's new album, The Beast in Its Tracks, opens with a minute-long fragment of a song addressed to a former lover: "Last night I saw/Someone with your eyes/Someone with your smile/Someone with your smile/We danced/And I regret that she asked me to/'Cause she didn't have your arms." This image of attempting to move on whilst preoccupied with a former love is the overarching theme of this album. The Beast in Its Tracks feels an awful lot like the songwriter without his mask on; an attempt at confessional - if not autobiographical - work. Musically, The Beast in Its Tracks is in keeping with Ritter's established sound; acoustic guitar, crystal-clear vocals, and strings that enhance the songs without being intrusive. "Bonfire" sounds remarkably like a classic Paul Simon song, and wouldn't sound out of place on any of Simon's early solo records. But this time out there are no third-person narratives about mummies doomed to live and love eternally, or tragic first-person reminiscences of Arctic explorers. What we have instead is a beautiful collection of songs about starting again in the wake of a love affair, and the singer's feelings of exhilaration and ambivalence. There is a tension to the lyrics about starting anew. It's as if Ritter is trying to convince himself that he's okay ("I'm happy for the first time in a long time"), but his misgivings are on display on every song ("I can't pretend that all is well, it's like I'm haunted by a ghost"). I think the key to this recurring theme lies in track nine, "The Apple Blossom Rag". Seemingly recorded live - the song begins with unintelligible whispering near the microphone, and what sounds like plates being cleared in the background - "The Apple Blossom Rag" is bitter, funny, and wistful, all at once, concluding with the heartbreaking self-realization: "Lord, I'm such a fool/For things that sing so sweet and sad/But are so [expletive] cruel." Whether this move toward more personal songwriting proves to be a permanent one for Ritter or a mere detour into "breakup album" territory, The Beast in Its Tracks is well worth your time.

Jason Molina: 1973-2013

News outlets report that singer-songwriter Jason Molina passed away March 16, 2013, at the age of 39. He had been in poor health in recent years and a campaign was underway to help raise funds for his mounting medical bills. Molina is best known for the music he recorded under the names Songs: Ohia and Magnolia Electric Co. His music was noticeably influenced by American folk and country, and his unique voice was instantly recognizable. Molina's highly poetic lyrics often centered on the lives and concerns of working people, particularly in his home state of Ohio and the city of Chicago, which had become something of an adopted home for the musician. His protagonists were tired, anxious, uncertain about what their lives meant and where they might end up. But Molina expressed these pervasive anxieties with such tenderness that many of his songs have the comforting qualities of lullabies. I am reminded of a lyric from his song "Blue Factory Flame":

when i die put my bones in an empty street
to remind me of how it used to be
don’t write my name on a stone
bring a Coleman lantern and a radio
a Cleveland game and two fishing poles
and watch with me from the shore
ghostly steel and iron ore ships coming home
where i am paralyzed by the emptiness

The Tallest Man On Earth: Love Is All

The Tallest Man On Earth is the enigmatic stage name of Swedish singer-songwriter Kristian Matsson. He has been recording original music and performing live for several years, but recently received a significant profile boost when he toured with critically-acclaimed artist Bon Iver. All of Matsson's work is guitar-based and heavily folk influenced, and his distinctively raspy voice is a wonderful instrument for his evocative song lyrics. While I would recommend the entirety of his 2010 album The Wild Hunt, it's the song "Love Is All" that has really stolen my heart. The video director Johan Stolpe has collected and edited vintage home movies - seemingly shot on Super 8 - into an unexpectedly moving complement to the song itself.

Music Roundup: My Top 10 Albums of 2012

Top Ten

The Seer - Swans
The music on The Seer is far more sophisticated than the Swans recordings of the early-'80s, when the band was about brutal noise and confrontation at the expense of all else. Michael Gira has refined his songwriting and expanded his thematic concerns throughout his long career, most notably with his Angels of Light project. But the dark drama and punishing intensity are still integral to the band's vision. The Seer is a sinister, droning masterpiece.

'Allelujah! Don't Bend! Ascend! - Godspeed You! Black Emperor
Certain artists inspire devotion, and GY!BE have had a devout following since their 1997 debut. 'Allelujah! is their first new record since 2002 (Yanqui U.X.O.);  a record comprised of two relatively long compositions and two shorter works that have been part of the collective's live repertoire. (The Guardian published a statement from the group coincident with the release of 'Allelujah!, providing some genuinely moving sentiments about the group's ambitions.) If you're unfamiliar with GY!BE, the ideal introduction is "The Dead Flag Blues," the legendary first track from the group's debut record. There's simply no better encapsulation of the what Godspeed You! Black Emperor is about. Follow that with the 'Allelujah! track "Their Helicopters' Sing" for further evidence of the visceral beauty of this group's music.

The Sun - Cat Power
Chan Marshall's career has had distinct musical phases that aren't always appreciated by the same audience; her stark, guitar-based recordings from the '90s often go unappreciated by those who favor her Southern soul influenced work. As a fan of her entire catalog, I'd like to think that The Sun represents yet another break/innovation. The soulful horn section has been replaced with warm synthesizers and electronic beats. There isn't much precedent for this type of production in Marshall's work, though it may have some superficial similarities with her guest spot on Handsome Boy Modelling School's 2004 record. The appeal of any Cat Power album is Marshall's voice, and it's invigorating to hear her sing with such directness on The Sun.

Four - Bloc Party
Bloc Party have always excelled at combining the best elements of  late-90s Blur and Radiohead with intense post-punk angularity. Those expected strengths are very much on display on the band's fourth record, but, really, nothing could have prepared me for the monster riffs of "Coliseum."

Cancer4Cure - El-P
The music of El-P is so idiosyncratic and distinctly his own that it's almost instantly identifiable. Forever at the margins of whatever can be considered "mainstream" hip-hop, El-P has consistently crafted innovative and intriguing music that reveals a profound appreciation for classic sampling. C4C is unquestionably one of El-P's finest records; a wild melange of samples and sounds that is, strangely, the most focused he has ever sounded.

Key to the Kuffs - JJ DOOM
You can pair MF DOOM with just about anyone and the results will, at the very least, be interesting. But his recent collaboration with MC/producer Jneiro Jarel is considerably more than a curio. Key to the Kuffs isn't a perfect record; and it suffers by comparison to Madvillainy, DOOM's beloved 2004 collaboration with Madlib. (To be fair, every recording suffers by comparison with Madvillainy.) Taken on a track-by-track basis, this is some of the best work DOOM has done in years. "Guv'nor" is almost certainly the standout, with its woozy production and lyrics that range far wider than DOOM's typical concerns.

awE naturalE - THEESatisfaction
I first heard TheeSatisfaction as guest artists on one my favorite records of 2011, Black Up by Shabazz Palaces. awE naturalE is the Seattle duo's debut full-length, and it easily exceeds all expectations in its seductive beauty and the seemingly effortless interplay between the singer (Cat) and the emcee (Stas).

Don't Be a Stranger - Mark Eitzel
My appreciation for this record may, to some extent, be tinged with nostalgia for the magisterial dolorousness of classic American Music Club. (Along with Red House Painters, A.M.C. were the demigods of slow-core.) But, taken on its own terms, Don't Be a Stranger is a beautifully crafted record that makes the most of Eitzel's unique voice and songcraft.

Between the Times and the Tides - Lee Ranaldo
As guitarist and co-founder of the band Sonic Youth, Lee Ranaldo's legacy as a rock innovator is secure. But, like his band-mates Kim Gordon and Thurston Moore, he has pursued various solo projects throughout has career. While the numerous side projects by Gordon and Moore are still pretty recognizable as Sonic Youth recordings (to the extent that Sonic Youth can be said to have a recognizable template), Ranaldo is pursuing musical ideas far afield of his full-time gig. From the darkly pulsing opening track, "Waiting on a Dream," to the gentle lyricism of "Stranded,"Between the Times and the Tides is a beautiful record that displays Ranaldo's maturation as a songwriter.

Mature Themes - Ariel Pink's Haunted Graffiti
Mature Themes is as strange as Ariel Pink himself. You just need to accept that Pink is working on another level, and the more time you spend with his songs, the more resonant they become. (Though I'm not sure there's any way to make sense of the almost unbelievably odd "Schnitzel Boogie.") Mature Themes isn't all experimentation and obfuscation; "Only in My Dreams" is as direct and charming a pop song as you could ask for, and the album's closer, "Baby," is a surprisingly soulful cover that just may be my favorite track of the year.

Other Highlights

2012 featured new music from some of my longtime favorites: Deerhoof (Breakup Song), Sun Kil Moon (Among the Leaves), Spiritualized (Sweet Heart, Sweet Light), Nas (Life Is Good), Mount Eerie (Clear Moon), and a late-entry from Big Boi (Vicious Lies and Dangerous Rumors). There were also a handful of newcomers who made an indelible impression: Frank Ocean (Channel Orange), Death Grips (The Money Store), and the surprisingly divisive pop singer Lana Del Rey (Born to Die). Say what you will about Del Rey's debut album, her single "Video Games" is an evocative song that feels emblematic of its moment in time, an impression that is only enhanced by its accompanying video.

My Music Year: 1988

After considerable deliberation, one stopgap exercise, and an awesome assist from Heather, I'm ready to endorse a music year. How did I settle on 1988? Was it my fond recollection of the molded plastic California Raisins that were so bountiful that year? It was not. My actual music-related memories of 1988 are fairly limited: I remember Fine Young Cannibals on the radio in my dad’s car (“She Drives Me Crazy” and  “Good Thing”), and Bobby Brown's "My Prerogative" was getting some serious play from my older sister. Oh, and the treacly "Living Years" by Mike + The Mechanics was an inescapable pop song. Apparently the New Kids on the Block were Hangin' Tough that year, but I don't really recall. (This Billboard compilation offers a fairly concise glimpse of what else people were listening to in '88.)

I was ten years old in 1988, and I was functionally illiterate as far as pop-culture goes. I didn't even have a tape deck. I think my only exposure to rap music had been a surreptitious viewing of the Beastie Boys' video "(You Gotta) Fight for Your Right (To Party)". It would be some time before I had the opportunity to understand the Beasties' oeuvre beyond that one song, but I did appreciate their sense of humor. (Yes, even I knew they were lampooning themselves.) I was so remarkably ignorant of popular music that I thought Simon & Garfunkel were a current group. (I'm not sure how to account for that misnomer, but I would guess it had something to do with PBS re-airing the duo's 1980 reunion concert.) What can I say? I lived in my own head-space, as many young people do, and I was content with my paperback copies of Sir Arthur Conan Doyle and Jules Verne.

It wasn't until I was thirteen or fourteen that I began developing musical tastes of my own, and once that happened, 1988 proved to be the wellspring of my musical interests. In an odd way, the music of 1988 would influence me considerably from my middle-school years to the present day. And let me tell you, there are few constants in my life that span those years. (I'm not strictly using "constant" in the Desmond Hume sense of the word, but you are encouraged to interpret it that way.)

The Rise and Fall of Wu-Tang: An Infodiscography

An enterprising designer named Jess Bachman has assembled an "infodiscography" of the legendary hip-hop group, Wu-Tang Clan. These visually striking graphics offer an insightful overview of the myriad Wu-affiliated releases, and are particularly useful for exploring the members' solo projects. The three-part series sets out to highlight the rise, fragmentation, and decline of the group. I would argue that the enduring artistic influence of the Wu-Tang Clan precludes anything like a decline, but it's a well executed project that can be especially useful to beginner or intermediate Wu aficionados. If you'd like to know which of these solo projects are available through the library, you can take a look at the list I've compiled in bibliocommons.

The "infodiscography" graphics themselves are quite large. Check out part one after the jump.

Actor Spotlight: Viggo Mortensen

A brief primer on why Mr. Mortensen is significantly cooler than you are:

• He is fluent in at least three languages (English, Danish, Spanish), and is conversant in several others. His performance in the 2006 historical film Alatriste is one example of his mastery of the Spanish language.
• He was married to Exene Cervenka, co-founder of the influential Los Angeles punk band X. This, in itself, places him in a fairly rarefied realm of coolness. To exceed that level of cool, you'd pretty much have to be Exene Cervenka.
• He is a photographer, painter, musician, and published poet. (These are not vanity projects; his earliest book was published in 1993, long before his role in The Lord of the Rings made him a household name.)
• He was in Young Guns II. If you don't think that's pretty cool, then you really need to watch Young Guns II. (You don't need to have seen the first Young Guns, and you don't need to care about Westerns.)
• His brief performance as Lalin, a paraplegic ex-gangster, opposite Al Pacino in Carlito's Way evinced more genuine pathos than any other moment in the entire 144-minute film.
• He played the role of Lucifer (yes, that Lucifer) in the 1995 film The Prophecy, and managed to not seem completely ridiculous in doing so. No small feat, if you think about it.
• His performance in A History of Violence, the actor's first collaboration with director David Cronenberg. Mortensen convincingly plays his character as a small-town everyman, until the plot convinces you otherwise.
• His performance in Eastern Promises, the actor's second collaboration with director David Cronenberg. Look for a false note in Mortensen's portrayal of compromised Russian gangster Nikolai Luzhin. You will not find one.
• Along with Johnny Depp, he may be the only human being who can get away with curiously sculpted facial hair. (I am not advocating this.)
• In A Dangerous Method, his most recent collaboration with Cronenberg, he played the towering historical figure Sigmund Freud. His take on the character was nuanced; calculating without seeming calculated; amusing, but without any trace of parody. (I'm legally required to point out that Mortensen's co-star in A Dangerous Method is the Media Corner favorite Michael Fassbender.)
• He participated in the documentary film The People Speak, in which actors and musicians perform dramatic renditions of the words of every-day Americans. His reading of a letter written by the family of a man who died in the World Trade Center attacks is deeply moving.
• His performance in The Road, an adaptation of Cormac McCarthy's grim  post-apocalyptic novel. Mortensen powerfully portrays the unnamed father's relentless determination to protect and provide for his son.

Happy Valentine's Day

Music Roundup: My Top 10 Albums of 2011

My (Always Subjective) Top 10 List:


Apocalypse - Bill Callahan
I've said it before, and I'll say it again: If Bill Callahan puts out a new record, it will be my favorite record of the year. That's not mere dedication to a songwriter I've favored for two decades, but rather an acknowledgment that he gets better with each passing year. I would argue that Apocalypse, the latest from Callahan, is as evocative and frankly spellbinding as any work in the artist's catalog.
Standout tracks: "Baby's Breath" and "Riding for the Feeling"

Undun - The Roots
A percussive, soulful concept album that somehow, impossibly, improves upon the band's prior successes. By my count, this is the tenth Roots record that is an unequivocal classic. Tenth. Can you name another contemporary group with those credentials? I can't.
Standout tracks: This is such a cohesive work, there's little point in highlighting specific tracks.

Bad as Me - Tom Waits
Arguably less ambitious than your average Tom Waits album (there's no song-cycle or high-concept narrative on this one), Bad as Me still offers just about everything you could possibly want from the artist at this stage of his career: guttural crooning, dusty blues, early R&B, rockabilly, and, yes, Keith Richards and Marc Ribot on guitar.
Standout tracks: "Raised Right Men", "Get Lost", and "Hell Broke Luce"

House of Balloons/Thursday - The Weeknd
House of Balloons is The Weeknd's proper full-length debut, and it justifiably received most of the accolades. But the mix-tape that followed it, Thursday, was a compelling listen in its own right. I'm including both in my top ten list, because I can. The lyrics on these recordings range from amusing to clumsy, but the sound is guaranteed to make you woozy. In a good way. (These two albums are only available as digital downloads from artist's Tumblr page.)
Standout tracks: "What You Need", "The Party and the After Party" and "Lonely Star"

Bon Iver - Bon Iver
This self-titled album is the proper follow-up to Justin Vernon's critically acclaimed debut, For Emma, Forever Ago. Vernon's gentle voice and impressionistic lyrics are still the focal point, but this record features a much fuller sound. I think I favor the intimacy of the earlier album, but Bon Iver has some excellent songs that benefit from the enhanced instrumentation.
Standout tracks: "Calgary" and "Minnesota, WI"

Black Up - Shabazz Palaces
Remember the '90s rap group Digable Planets? Doesn't matter. Even if you were familiar with that group, you'd probably never have guessed that Shabazz Palaces is the current project for former Digable Planets rapper Ishmael Butler. This is an astoundingly relevant and forward-looking album, particularly as it comes from an artist who has been in the business since the Clinton Administration.
Standout tracks: "A Treatease Dedicated to the Avian Airless from North East Nubis"

Demolished Thoughts - Thurston Moore
A solo outing from Sonic Youth singer/guitarist Thurston Moore, Demolished Thoughts is essentially a singer-songwriter album that sounds a lot like Sonic Youth. I find that to be a pretty irresistible combination. The songs are uniformly strong on this record, but they reach greatness thanks to the gorgeous production, courtesy of Beck.
Standout tracks: "Circulation" and "Orchard Street"

W.A.R. (We Are Renegades) - Pharoahe Monch
This may be the most focused, concise Monch album yet. His lyrical delivery is always a thing to behold, and his work on W.A.R. just might be up there with his revered solo debut.
Standout tracks: "W.A.R." and "Black Hand Side"

Hot Sauce Committee, Part 2 - Beastie Boys
I never thought I'd be including a Beastie Boys album in my top ten, but here we are. I've enjoyed Hot Sauce Committee more than any Beasties record since...the '90s? This is a record by a group of guys who know their strengths and actually sound like they're having a good time. Bonus points for collaborating with Nas on "Too Many Rappers". I would endorse an entire of album of Nas rhyming over Beastie Boys beats.
Standout tracks: "Make Some Noise" and "Too Many Rappers"

Father, Son, Holy Ghost - Girls
I'll be honest, the big over-the-top climaxes on Father, Son, Holy Ghost don't always pay off. But when they do... If you can appreciate the idea of a decidedly idiosyncratic songwriter going all out, you owe it to yourself to give this a listen.
Standout tracks: "Honey Bunny" and "Love Like a River"

Runners Up/Honorable Mentions:

The Family Sign - Atmosphere

El Camino - Black Keys

Deerhoof vs. Evil - Deerhoof

The Book of David - DJ Quik

No Kings - Doomtree

I'll Never Get Out of This World Alive - Steve Earle

Ceremonials - Florence + the Machine

Tell Me - Jessica Lea Mayfield

The Only She Chapters - Prefuse 73

Fear of God II: Let Us Pray - Pusha T

Shaolin vs. Wu-Tang - Raekwon

The Whole Love - Wilco

Wild Flag - Wild Flag

My Music Year: 1978

The Onion AV Club’s ongoing series My Music Year is a fairly straightforward concept ("In My Favorite Music Year, A.V. Club music writers choose the years that speak to them most deeply, however fresh in memory or far in the past."), but it's given me a lot to think about. While I’m intrigued by the idea of highlighting a particular year in music that has personal resonance, I'm having trouble committing to a specific year. It seems like every year has its riches and its dross, and I can't help feeling that to choose one year is to overlook another. As a means of bypassing this indecisiveness, I have decided to review my birth-year. I'm not sure how I hit on the idea, but I'm excited about exploring the year I was born for hints at my musical sensibilities. How much of the music released the year I was born would end up being a part of my life in one way or another? We shall see.

Classic Status: What's Next to the Moon

What's Next to the Moon - Mark Kozelek
Find it in the catalog!

What's Next to the Moon contains ten gorgeously expressive acoustic songs, inexplicably derived from 1970s AC/DC tracks. On this 2001 recording, singer-songwriter Mark Kozelek proves that his unique brand of musical expression is distinctive enough to make any genre of music his own.

Crush-Worthy Women of TV

What follows is a list highlighting five decidedly crush-worthy women of television. Just because.

Liz Lemon, played by Tina Fey
From: 30 Rock (2006-present)

Upside: Smart, sublimely awkward, and unrepentantly nerdy, it's hard not to love Liz Lemon. And her abiding devotion to the Food Network is icing on the cake. Even her spastic, weirdly dissonant dance moves are kind of endearing.
Downside: Yes, I'm aware of the foot problem.

Debra Morgan, played by Jennifer Carpenter
From: Dexter (2006-present)

Upside: Deb is hilariously profane, up-front about what's important, and unfailingly devoted to doing the right thing.
Downside: It would be like dating a "dude." Debra is as unsentimental and commitment-phobic as any of her male peers, if not more so. This kind of makes sense, when you consider that she was unwittingly engaged to a serial killer at one point.

Joan P. Harris (nee Holloway), played by Christina Hendricks
From: Mad Men (2007-present)

Upside: Joan is one of the most compelling characters on the superb period-drama Mad Men. Chronically underestimated by her coworkers at Sterling Cooper, often to their own detriment, she does the real work of keeping the business up and running. Her despicable husband (despicable is really too generous a word for that creep) is condescending and blithely uninterested in what she wants out of life, though Joan is clearly the stronger personality. One senses that Joan could be a veritable force of nature, if she could only transcend the limitations of her era.
Downside: Hmmmm...

Diana Prince/Wonder Woman, played by Lynda Carter
From: Wonder Woman (1975-1979)

Upside: She's Wonder Woman.
Downside: The Lasso of Truth, maybe.

Thelma Evans, played by Bern Nadette Stanis
From: Good Times (1974-1979)

Upside: Thelma is a confident, artistic young woman who remains steadfastly idealistic in spite of the poverty that surrounds her. She more than holds her own against her comically boorish older brother. She also has excellent taste in music, favoring '70s soul giants Marvin Gaye and Isaac Hayes.
Downside: She married her sweetheart Keith Anderson, who overcame alcoholism and a serious knee injury to play for the Chicago Bears. Who'd want to break up that happy ending?

A Non-Fictional Runner-Up:

Campbell Brown, played by Campbell Brown
From: Campbell Brown (2008-2010)

Upside: Her unwillingness to play a character is actually the most appealing thing about Campbell Brown. (Her elegant features, classical profile, and deep brown eyes are incidental to her crush-worthiness.)
Downside: She is married to this guy. You know, for real married.

Music Roundup: My Top Reissues of 2010

2010 and the latter-part of 2009 have been banner years for reissues. The canonical recordings of Bob Dylan and the Beatles were re-released in mono (yes, mono), the Rolling Stones' 1972 masterpiece Exile on Main St. was released in two variations of deluxe-ness, and the bonanza continued with a high-profile exhumation of the Apple vaults. What follows is a brief list of the reissues that stand out - for me - as definite musical highlights of the past year.

Music Roundup: My Top 10 Albums of 2010

Interestingly, almost none of the artists from my 2009 Music Roundup appear on this year's list. In fact, few of them released albums this year at all. MF Doom's out-of-nowhere live album is a notable exception, but it's Dan Auerbach who makes the list for the second consecutive year. Auerbach's 2009 solo album, Keep it Hid, was a definite favorite of mine, and this year he's back with an outstanding Black Keys album. As is always the case with my subjective "best of" lists, these titles are not ranked. This is just an opportunity for me to share some of my favorite musical experiences, in the hope that you might enjoy them as much as I have.

Tom Waits: Selected Highlights, Pt. 2

It's been a while since my initial post on this topic, Tom Waits: Selected Highlights, Pt. 1. Given the breadth of work in the artist's canon, I knew I'd be back for a followup eventually. Here's another five songs that strike me as outstanding examples of the peculiar genius in possession of Tom Waits and his wife and co-writer Kathleen Brennan.

Selected Highlights, continued...

A Bittersweet Curse

How seriously can you take the idea of romance between an Egyptian mummy and the archaeologist who discovers him? Not terribly, am I right? Such scenarios are generally limited to black and white horror movies and pulpy Anne Rice novels. Singer/songwriter Josh Ritter somehow manages to invest this fantastical relationship with pathos and tenderness, making "The Curse" the standout track of his 2010 album So Runs the World Away. "The Curse" is a lilting waltz with perfectly punctuated horn accompaniment and one of the most elegantly written poetic narratives in pop music. Ritter's drummer, professional puppeteer Liam Hurley, painstakingly created a visual corollary to the song that enhances its already powerful emotional impact. (You can read Hurley's thoughts on the song/video and see photos of the production process on NPR's All Songs Considered blog.) You can scoff at the perceived preciousness of an all-puppet music video, but if you're not moved by the sight of that marionette mummy reaching out to stroke the archaeologists hair (1 minute, 19 seconds into the video), then I'm not sure you're alive. Recommended for: lovers of poetic, finely wrought songs; puppeteers and puppet aficionados; video geeks; and any human being in whose chest the dried fig of a heart still beats.

Movies I Love: Requiem for a Heavyweight

Requiem for a Heavyweight (1962) is the story of Louis "Mountain" Rivera, an aging boxer who has just had his career ended for him by a young and hungry Cassius Clay. Cut loose from the stabilizing influence of his metier, Mountain faces the realities of an economy and society that have little use for him. His halting speech, ungainly size, and lack of worldliness make him ill-equipped for most "straight" jobs. Mountain's manipulative manager, Maish Rennick, pressures him to become a wrestler. This is a demeaning prospect for Mountain, a man whose pride in his life's work is central to who he is; typified by his pitiful and oft-repeated attempt at aggrandizement, "In 1952 they ranked me number five!" Mountain's loyalty to Maish is abiding and, as it turns out, completely unwarranted. The implications of this misplaced trust are heartbreaking.

Movies I Love: Brand Upon the Brain!

"One memory leads to the next..."

Experimental filmmaker Guy Maddin clearly has a fondness for crossing genres, styles, and media: Dracula: Pages From a Virgin's Diary (2002) combines Expressionistic horror with a feature-length dance performance by the prestigious Royal Winnipeg Ballet; Cowards Bend the Knee (2003) is both a gorgeously photographed film noir and a loving tribute to Canadian hockey; The Saddest Music in the World (2003) is a morose melodrama, a screwball comedy, and a musical featuring multi-ethnic performers. His 2006 film Brand Upon the Brain! is a hybrid of several equally unlikely art-forms: silent film, teen detective mystery, mad-scientist horror pastiche, and imagined autobiography. It is also, and most affectingly, a profound meditation on childhood memory. Narrated by Isabella Rossellini, whose beautifully expressive voice adds poignancy to what is already highly poetic narrative.