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New "What's In My Bag?" Video With Kid Ink

Posted by Amoebite, February 26, 2014 01:12pm | Post a Comment
Kid ink

With a brand new album to kick off 2014, Kid Ink goes from Do It Yourself  indie to major label artist. 
Much like his rap contemporaries - Tyga, A$AP Rocky, Kendrick Lamar - Kid Ink released a series of well received mixtapes that helped propel him out of the underground. In 2012, XXL Magazine Kid Inkfeatured Kid Ink as part of their "Freshman Class" alongside Macklemore, Hopsin, and Future. On January 4, 2013, Kid Ink announced he signed with major label RCA. In January of 2014, RCA released My Own Lane. The album features several collaborations, including the Chris Brown assisted single "Show Me." The song has earned Kid Ink his first Gold plaque for sales of over 500,000 and has peaked at #17 on the Billbaord Hot 100 chart. Kid Ink is definitely doing it major!

Our What's In My Bag? crew caught up with Kid Ink on a recent visit to Amoeba Hollywood. He grabs a copy of the Batman Anthology on DVD. This is definitely a must have for all Batman fans, especially those who grew up in the '90s! He also finds a couple of iconic posters of Notorious B.I.G. and Bob Marley. See which Adventure Time vinyl figures he finds and what album Kid Ink says is the best ever.

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Music History Monday: August 5

Posted by Jeff Harris, August 5, 2013 11:30am | Post a Comment

dick clarkTo read more Behind The Grooves, go to http://behindthegrooves.tumblr.com.

On this day in music history: August 5, 1957 - American Bandstand makes its national television debut on ABC. Hosted by former radio DJ and music entepreneur Dick Clark, the show is originally broadcast on local Philadelphia channel WFIL-TV Channel 6 in 1952 with original host Bob Horn (1952 - 1956), co-host Lee Stewart (1952 - 1955), and Tony Mammarella (1956 only). Clark will become the show's permanent host from 1956 to 1989 (returning briefly in 2002). The show will move from Philadelphia to Los Angeles in 1964, beginning color broadcasts in September of 1967. 3,000 episodes of the show will be taped over its 50 year history (though only 883 survive).

On this day in music history: August 5, 1969 - The self-titled debut album by The Stooges is released. Produced by John Cale, it is recorded at Russ Gibb's Grande Ballroom in Detroit, MI from October 30 - 31, 1968. Recorded in just two days with The Velvet Underground's multi-instrumentalist John Cale, the original mix of the album will be rejected by Elektra (four of the rejected mixes will be released on a reissue of the album in 2005). The released version will be remixed by frontman Iggy Pop and label founder Jac Holzman. Featuring such proto-punk classics as "No Fun" and "I Wanna Be Your Dog," it will become highly influential, providing the inspiration for the Punk Rock music genre in the '70s. Iggy Pop will be widely acknowledged as the godfather of the punk movement. The Stooges will peak at #106 on the Billboard Top 200.
 

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Ranking Christopher Nolan's Films

Posted by Billy Gil, December 11, 2012 06:48pm | Post a Comment

Christopher NolanIn celebration of the recent release of The Dark Knight Rises on DVD and Blu-ray, I decided to go back and explore Christopher Nolan’s filmography, rewatching bits or all of the films, as I usually couldn’t stop myself from watching the things all the way through once I started. Nolan has directed and written or adapted eight films (not including his short films) in the past 14 years, making him not only one of the best (or arguably the best) of directors of the 21st century, but also one of the most prolific.

Starting from the bottom and working up to the best, this is my personal list of favorite Christopher Nolan films.

(All of the Christopher Nolan Batman movies are available in a box set, on DVD or Blu-ray.)

 

8. Following (DVD, Criterion DVD or Criterion Blu-ray)

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Holy Terror, Batman! Some Thoughts on Violence in The Dark Knight Rises

Posted by Charles Reece, July 22, 2012 11:56pm | Post a Comment
jeff koterba batman shooting cartoon

There are plenty more insipid cartoons about the recent "Batman shootings" where Jeff Korteba's came from. I don't use it as an example of the decrepitude of political cartooning (it's always been the world's lamest artform). Rather, the cartoon exemplifies a certain misreading of Christopher Nolan's Dark Knight trilogy*: the vigilante Batman displaces real world law and order in the superheroic fantasy. In which case, the films' audience needs a reminder of who we should fantasize about, namely the guy who really puts his life on the line. However self-critical his films are, Nolan is too much the well-ensconced liberal advocate to ultimately use the character as anything more than an imaginary supplement to the status quo. There is a reason, after all, why the revolutionary violence in all three films is treated as pure chaos for chaos' sake. Batman doesn't represent change, but a much needed (or so the narrative goes) restoration of order.

Sure, the Joker scores some good points against hypocrisy when he sounds like Walter Benjamin in advocating "divine violence," a resetting of cultural values to zero, destroying the occluded underground byways of systemic violence that capital requires to continue (just think of the modern sweatshops used in manufacturing the iPhone, for example).** And Catwoman sounds like Bertolt Brecht as she gleefully portends what Bane's about to do to Gotham's stock exchange (e.g., "robbing a bank's no crime compared to owning one"). Nevertheless, these are the villains of the trilogy, not the heroes (Catwoman only becomes a hero when she fights to restore order). That's why Ben Shapiro over at Big Hollywood has it right: this is a conservative trilogy.

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Joker's Wild, or Batman Degree Zero: The Dark Knight (2008)

Posted by Charles Reece, August 10, 2008 10:36pm | Post a Comment
The Joker


There is an old story about a worker suspected of stealing: every evening, as he leaves the factory, the wheel-barrow he rolls in front of him is carefully inspected. The guards can find nothing. It is always empty. Finally, the penny drops: what the worker is stealing are the wheelbarrows themselves ... -- Slavoj Zizek, p. 1, Violence

I just happened to start reading Slavoj Zizek's new book, Violence, shortly after I saw Christopher Nolan's The Dark Knight and found both to serendipitously complement each other. Zizek begins his book with the little tale of theft quoted above, which he uses as a grounding metaphor in analyzing our approach to violence. Too often we're concerned with its subjective effects (who was hurt and by what, i.e., what's in the wheelbarrow), rather than its objective status (the symbolic order that gives form and definition to the violent act, i.e., the wheelbarrow itself). For example, an anti-semitic remark doesn't constitute hate speech -- isn't violent -- for a Nazi who exists in a context where "the Jew" is defined outside of humanity, and thus moral concern. It is the functioning symbolic order that allows everyday people to exist in a system perpetuating violence on others without seeing how their own normality is defined by what it violently excludes. This is what the Joker is getting at when he says to Harvey Dent:
 
Nobody panics when they expect people to get killed. Nobody panics when things go according to plan, even if the plans are horrifying. If I tell the press that tomorrow a gangbanger will get shot, or a truckload of soldiers will get blown up, nobody panics. But when I say one little old mayor will die, everyone loses their minds! Introduce a little anarchy, you upset the established order, and everything becomes chaos. I am an agent of chaos. And you know the thing about chaos, Harvey? It’s fair.
 
Sure, we (represented here as Gotham City residents) might see the gangbanger's death as violent, but always as subjective violence, an act by an individual on another individual, not as a sign that the cultural system itself is violent. The difference between the violence against a gangbanger and against the mayor is that only the latter is perceived to be a threat to the normal order of things, whereas the former is already written into the cultural bill as the price of doing business as usual. The Joker is an agent of chaos, because he's the embodiment of pure objective violence. That's why he assures Harvey that killing his girlfriend, Rachel (Bruce Wayne's love interest, as well), and leaving him horribly disfigured as Two-Face was "nothing personal." As such, the Joker's actions can only be read as chaotic, senseless, or just plain nuts. He doesn't put Gotham's citizens (including its criminals) through a series of terroristic spins on the prisoner's dilemma for personal gain, revenge or as the result of some childhood trauma -- he's an ascetic without a real history. Rather, his only goal and source of pleasure is in making his victims face up to the abstracted violent substructure around which their culture is configured. Sounding like Jack Nance and looking like he's spent time in A Clockwork Orange and Ichi the Killer with fashion tips from Malcolm McLaren, the Joker provides a scarred face to the invisible logic of capitalism, with cracking make-up and a forced smile. He's pure desire without an object, paradoxically making the impersonal personal and invisible visible. Regarding this invisible and "fundamental systemic violence of capitalism," Zizek writes:
 
[M]uch more uncanny than any direct pre-capitalist socio-ideological violence: this violence is no longer attributable to concrete individuals and their "evil" intentions, but is purely "objective," systemic, anonymous. [Some stuff about Lacan's Real versus reality that I will spare you.]  We can experience this gap [between the reality of people and what's being defined as reality by the logic of capitalism] in a palpable way when one visits a country where life is obviously in shambles. We see a lot of ecological decay and human misery. However, the economist's report that one reads afterwards informs us that the country's economic situation is "financially sound" -- reality doesn't matter, what matters is the situation of capital ... -- p. 12-3, ibid.

Stocks wouldn't keep rising for a corporation that exploits third-world misery if that repressed misery took on a subjective quality for the investors. For capital to keep growing, said misery has to remain purely objective, an abstract cost that's been symbolically excluded out of our day-to-day concerns. The Joker is the same unbounded desire that drives capitalism. Without any object or goal to satisfy him, he exists outside of our rational system and can only be stopped with violence. He can't be beat, however, only beaten, because the solution to the problem he presents is the problem itself: repression of systemic violence. (Batman once tried to reason with him -- understand him -- in Alan Moore's The Killing Joke with miserable results.) At best, Gotham City can return to the status quo by forgetting him -- define him out existence as insane and lock him away in its local Id repository, Arkham Asylum. Or they could kill him, but Gotham's local hero of repression has only one rule: he doesn't kill.
 
The Batman

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