Tyler, the Creator: Goblin

Now here's a nasty little number...Tyler, the Creator's first major label record Goblin is much more disturbing and much less accessible than its predecessor Bastard.  People that didn't like Tyler or Wolf Gang before this will probably not change their mind after this listen. Even for the cult followers it might take time to get settled into. Its not necessarily the misogynist, racist or violent content that will cut off listeners, but the music is much more minimal and experimental than that of Bastard's. Goblin is also one of the most personal hip-hop albums ever. Whether real or fiction, Tyler isn't afraid to share his personal perceptions of himself through topics related to his mother and absent father, his love interest, his rise to marginal fame or his suicidal thoughts.

The album picks up where it left off on Bastard on the title track Goblin with Tyler in conversation with his "therapist" in which he discusses the pressure he is feeling by becoming marginally famous and barking out his feelings on his fan's and critic's perceptions of him. Tyler hates the fact that his music is labelled "horrorcore" and that people expect him to be influenced by "real hip-hop" i.e. Golden or New York renaissance era, when in fact he doesn't want to stay underground and is inspired by Waka Flocka Flame, Pusha T, Pharell and Eminem. He clearly doesn't want to be categorized and it is fresh to hear an artist not just go with the flow or be pressured to homage an era of hip-hop that didn't appeal to his generation.

The obscene and shocking lyrics are present here too and best portrayed on Tron Cat (another one of Tyler's aliases) with production reminiscent of Clipse's Trill, which is like a soundtrack for Shredder from Teenage Mutant Hero Turtles (another group of rebel teens). "wolves I know you heard of us/we murderers/and young enough to get the fucking priests to come flirt with us" Tyler proudly states at the beginning, then later raps "rape a pregnant bitch and tell my friends I had a threesome", later followed by  "I cut her like a barber with Parkinsons disorder". These rhymes are taboo, but more creative than most lyrics you hear nowadays. He also compares himself to "wetbacks" running across the border and prefers snorting Hitler's ashes to coke. Tron Cat is possibly the best and most accessible track on the album regardless of its grim content.

The tirade of Tron Cat is followed by Her, which is possibly one of the most relatable and personal songs ever in hip-hop. Its a simple premise, Tyler like a girl, who sleeps around with other guys and is hurled into a state of self pity because she doesn't feel the same for him. The rejection is common enough in music, but Tyler's description goes into great emotional detail with complete honesty. "closest I got was poking her on Facebook" he claims, and admits that he wants the corny dates at the movies etc... rather than just looking for sex. Tyler is completely vulnerable and desperate here saying that he wants to send her a text of jealous rage, but admitting that he would just smile when she replies. Not many hardcore rappers or even your average guy would admit that. Tyler also admits that when he is confronted about his friends about her, he is too embarrassed to say he got rejected so he lies and said she moved away. An interesting factor is that Tyler doesn't rape or kill the girl.

Near the end of the album, Tyler kills all his friends and has an emotional breakdown on Golden. Tyler's snarl and the apocalyptic beat make it a chaotic, paranoid and schizophrenic 5 minutes where it is finally revealed that Tyler's therapist is in fact himself questioning and evaluating himself. After listening to Golden it is evident how much he respects and appreciates his mother, and how much he misses his best friend and now cult exile Earl. Tyler also illustrates how unsatisfied and unfulfilled he is with his work and life. 

Musically, Goblin is minimal and much less fun than Bastard, which should be expected since Tyler said before that he makes music for himself, but he also wants to win VMAs and Grammy's so he is making it hard on himself. Yonkers and Tron Cat stand out as most accessible for mainstream listeners. I really liked the album for its brutal honesty and aggressive flow from Tyler. My only complaint is the rebel attitude on Radicals just because its boring and old news, and they are 10 years late attacking Bill O'Reilly, who everyone already knows he is a prick. N.W.A and Eminem met that expectation, but Tyler and Odd Future can't fill those shoes because its not their time, their time is for attacking rap blogs and reaching the masses through Twitter, tumblr or Facebook. Personally I prefer when Tyler is narrating taboo tales of murder and rape or verbally attacking blogger faggots like me.

Taxi Driver (4K Restoration)

The other night I went to a screening of the new restoration of Martin Scorsese's Taxi Driver (1976) and besides from the enhancement of the sleazy New York lights and the blood nothing much changed my view of the film. Most auteurs have one opus in their career, of course they might have some fans that may consider them to have more, but on a universal level the majority of directors hold on masterpiece to their name. For Scorsese it is disputed by mass audiences to which film should hold that title, and generally it comes down to the big three divided up into three different decades: Goodfellas (1990), Raging Bull (1980) and Taxi Driver (1976). 

This debate will continue for sure, but in my opinion all three can hold the title. However, I am here to discuss his ultraviolent Taxi Driver, which remains one of the most powerful and daring films in cinema, and which conveys one of the greatest character studies in cinema: Travis Bickle (Robert De Niro). Why do we like Bickle? He is boring, pathetic, obsessive, racist, violent and lonely. However, you could say he is charming, determined, shy, strong, moral and vulnerable. He doesn't know any better, like when he takes Betsy (Cybil Shepherd) to the porno theatre and she leaves without hearing him explain. It is not that he is a filthy pervert, but he is lonely and doesn't know how real couples interact. He is also willing to bring her wherever she wants if she will let him, but her patience is up with Travis. 

The reason why we are attracted towards Travis is because we see ourselves in him, the good and the bad so we empathize. When Travis says he wants to clean up the city and get rid  of all the scum, he is genuine and it can be recognised as a noble act, but he just goes about it on the most extreme format. I have lived in New York for nearly six months in post-Giuliani days and can correspond to Bickle's wishes at some points, but I'm sane...for now. The theme of loneliness that was expressed by Paul Schrader in the script was understood by most audiences at the time, which was considered surprising and that is why this film is so refreshing and revolutionary in cinematic terms. The collapse of the Hollywood studio system in the mid-sixties forced a new wave of filmmakers to adapt to the idea of the personal movie, the Coppolas, Milius', Hoppers, De Palmas and Polanskis, but none of them ever came close to Taxi Driver. These were Schrader's thoughts and feelings up close and personal and it touched on a topic that people before and after are afraid to express. 

What was essential for Taxi Driver turning out the way that it did was the perfection of this collaboration. Scorsese and De Niro's collaboration throughout film was one of the most important of late 20th Century art. It is very, very rare to find two people, who share the same thoughts about such dark material, and when you add in Schrader for Taxi Driver then you really have got some sick shit. The element of loneliness is perfected technically in this film by Scorsese. There's the great 360 degree shot that revolves from Travis around the taxi lot back to him, where he stands alone, also the most powerful depiction of loneliness and desperation occurs when Travis is on the phone to Besty after the porno incident. The camera fixes in on Travis on the phone attempting to get Betsy back, Scorsese decides that this is to agonizing for anyone to watch so he lets the camera pan out to the empty hallway so we can't see Bickle embarrass himself anymore. However, my favourite scene in the entire movie is when Travis is in the cab diner with all the other cabbies, who are all in discussion. Travis drops an soluble tablet into his water and commences to watch it dissolve. The camera zooms in for a close shot of Bickle's face concentrating on the glass, then proceeds to zoom in further and further into the glass. The sound of the tablet dissolving rises and the volume of the cabbies chatter is turned down to mutter. Its just Travis and the glass and I believe this is an excellent portrayal of Travis' isolation and emotional disconnection from the world.

The racism is quite evident too, it is clear that Bickle does hold racial tension towards many black people throughout the movie, especially those who he thinks might be pimps. The content of racial tension is why they chose Harvey Keitel to play Matthew, which was a wise choice, not because of his skin colour, but simply because Keitel is magnificent as a pimp, and it is evident that he put alot of care and thought into it. The story never really gives a conclusion on Bickle's thought on race, because even though he does have racial tendencies towards all the black characters we see, it is clear that all these black characters are pimps or dealers etc... He loans fellow black cabbie Charlie T five bucks anyway, but I'm pretty sure he he squints at him too.

Getting away from all this dark territory, we must remember that this film is also very funny. The casting of Albert Brooks is an obvious example, who pointed out in a interview that he was trying to be unfunny so it would be more realistic. Travis is also extremely funny, especially when he takes Betsy out for coffee and pie. De Niro's mannerisms are hilarious in this scene and even the odd narration is great: 

" I had a black coffee and apple pie with a slice of melted cheese. I think that was a good selection. Bestsy had coffee and a fruit salad...she could've had anything she wanted." 

His insanity is hilarious and stays funny for the whole scene with great improvisation. Any scene with Wizard (Peter Boyle) is comical as he spews his cabbie wisdom with all who is listening and even tries to help out Travis with some bad advice, which Travis isn't to shy or polite to let him know: "I don't know, that's about the dumbest thing I've ever heard."

Scorsese's Taxi Driver remains a masterpiece and is to date his most daring film, even the rumors about his battles with the censorship board are classic tales that match the greatness of this movie. In my opinion it stands as the greatest New York movie ever, at least in its true depiction of New York's evil core. Scorsese took Schrader's story and drenched it in red neon lights, blood and a yellow coating of paint making it visceral and unforgettable for lonely spectators everywhere. 

The Smoothest Voice of the West

Californian singer Nate Dogg passed away in his home city of Long Beach, CA yesterday. I am not sure what the cause was and I don't really care (probably a stroke). Nate Dogg's solo career wasn't a strong one, but his collaborations with the world's biggest hip-hop artists always guaranteed a hit. When I was a young wigger not in the hood, Nate Dogg's voice seemed to epitomize the westcoast rap scene, especially during the g-funk era with his work on Dr Dre's landmark album The Chronic and Snoop Dogg's misogynistic and fun Doggystyle (how can an album named Doggystyle not be good).

Nate Dogg was then resurrected at the dawn of the millennium on Dr Dre's futuristic 2001. Among many collaborations throughout his career, his closest seemed to be Warren G. Their work on the song Regulate has become a hip hop classic. Nate Dogg's wonderfully deep, low voice helped develop a style of his own that was undeniably marketable across the world. His voice also made it easier for women to be degraded to such a fantastic level  so "just lay back and open your moooouuuutttthhhh!"


Here are what I believe to be some of Nate Dogg's best pieces of work:

Rango

Rango can easily stand up against any western past or present when it comes to narrative, style, character, emotion and convention. It is the best movie I have seen so far in 2011 for many reasons. The night before I watched Kim Ji-woon's I Saw the Devil, which was a sadistic, bloody revenge tale that is basically torture porn. Don't get me wrong, I liked the film and it was excellently made (check the stabbing frenzy in the taxi). However by the end the protagonist and the audience are left unsatisfied by the havoc of bloodthirsty revenge. Lets say compared to Tarantino's climax of Kill Bill Vol. 2, where we get a different glance at revenge through long dialogue rather than violence overload. Even though the idea that revenge never really works the way you want it to was the aim of I Saw the Devil, that doesn't mean I have to enjoy it.

Back to Rango, a movie that also reflects Tarantino and his encyclopedic knowledge of cinema, I found a much more stronger film in its characters and narrative. I love South Korean cinema, but I find it funny how the audience that also love it find it refreshing from Hollywood cinema when in fact much of the style, humor and themes are beginning to be used quite frequently. Although Rango obviously contains no bloody violence that might be seen in a Tarantino film it does provide the love of cinema and homage that is present in say Kill Bill or Inglourious Basterds. Rango not only is a dedication to the classic Hollywood western and the Spaghetti western, but its story also pays respect to one of America's greatest film noir tales: Chinatown.


Some films that play as a reference book to older films sometimes do not contain the emotional drive or attraction to their own characters, but Rango doesn't slip up here. This movie really gets you involved where you care about the characters and not just who they have parodied. The scene where an all too convincing Rattlesnake Jake (Bill Nighy) confronts Rango (Johnny Depp) is intimidating and the sequence that follows where Rango shamefully departs the town and walks through the moon-lit desert is very moving and looks amazing. The scene where Rango meets the Spirit of the West (Timothy Olyphant) is very clever and pays great tribute to Clint Eastwood's icon, the man with no name.

Even though I knew that the ending would be a classic western happy resolution, the Chinatown references had me wondering if John Huston/Mayor character was gonna reveal his daughter to be his lover...Incest in the West? But fortunately it ended with the John Wayne tribute, walking off into the sunset with the girl.

Currently Listening To....

Last week many people witnessed one of the insane and electrifying live performances in a long, long time on Late Night With Jimmy Fallon. Tyler, The Creator and his hip-hop collective Odd Future Wolf Gang Kill Them All have been on the underground scene for a while, but this performance automatically broke them from their perverted stank basement, where they probably prefer to be. I first heard of Tyler and Odd Future through Pitchforkmedia, but never really listened to them properly, it was the intensity and visual creativity that caught my attention on Jimmy Fallon and I'm clearly not the only one. Their aggression was welcomed by the audience and now we just have to see if they can stomach the violent and misogynistic lyrics on Tyler's Bastard or upcoming album Goblin set to be released on XL in April I believe.

The mise en scene they created for stage was fantastically bizarre: zombie girl, gnomb, huge trombone, i think some guy just texting and laughing and just their hyper-active presence (when the chorus WOLF GANG!!! WOLF GANG!!! kicks in they went berserk. Not since the Wu Tang Clan in the early nineties, has such an innovative and original hip-hop act crossed over to the mainstream when they really shouldn't be allowed to. Its like a prison break.

Here is Tyler, The Creator's new single Yonkers:

The Strong Silent Type

Although The Fighter has garnered mostly positive reviews it has received its fair share of criticisms. One that stands out as a negative is Mark Walhlberg's performance. Roger Ebert complains that the leading role is too subtle and that the other performances from Christian Bale, Melissa Leo and Amy Adams shadow Marky Mark's. Well isn't that the point. Micky Ward is repressed by everyone around him, his brother, mother and girlfriend sorry Ebert if Mickey isn't as charming as Rocky Balboa or as complex as Jake La Motta. Why should we need an electrifying performance from Wahlberg if it doesn't coencide with the actual story. To be honest I find Micky Ward's simplicity, innocence and vulnerability to be refreshing. 

I put off seeing The Fighter for a good while, even though I loved the trailer, I was expecting it to be your run of the mill rags to riches boxing movie, and it is that, but it is also excellently made. The opening scene in the Lowell neighbourhood is big opener that follows Micky and brother Dicky as they mess fight and converse with everybody on the street. It is a strong opening that leaves you expecting big things and it doesn't let you down.

Even though David O. Russell has delivered a great drama, he has also given audiences a very funny film. Most of the hilarity comes from Dicky's actions and reactions. His facial expressions are fantastic, and an example of a subtle funny expression is when it is announced to Micky and Dicky that Micky's new opponent is fresh from jail- Dicky's face lights up with excitement for a quick second. The family, Micky's mother, stepfather and 200 sisters convey most of the other humorous lines. However one of the funniest scenes of the movie is when Micky is at his most vulnerable, when he takes Charlene to a foreign art movie so he won't be seen by the locals and have to deal with his shame publicly. 

Bales performance is great here, its funny, sad and sometimes frightening and regardless if he receives and Oscar for it, it is in my opinion the best supporting role of the year. The opening scene set the audience up for a riveting tale and the end of the movie during Micky's championship bout has the viewer on the edge of their seat. It is the greatest portrayal of a an enthralling sports atmosphere that has ever been filmed I believe. I might be forgetting something else, but until I remember, I will stand by that. It was such a great cinema experience during those last 15-20 minutes of the movie and you really want Micky to win as if it were your favourite boxer, football, rugby, basketball etc... team.

Perfect Tribute

Orson Welles gives a humble and poignant speech for one of my favourite actors and icons of all time: Jimmy Stewart.