DC Killin': Bridging the Gaps of the District's Subcultures

Posted on October 5, 2009 | Leave a comment

When I first moved to Washington, I heard plenty about “the two DCs:” two disparate cultures, ostensibly with transient denizens of the Capitol Hill-K Street-Georgetown axis on one hand and native Washingtonians on the other. The separation was cultural and economic, with racial undertones. The reality, as with all generalizations, is much more complicated.

DC is a creative class city. Even the Wall Street Journal knows that. With residents of every national and international origin, DC has developed a multitude of cultures. As a whole, the District rejects homogeneity and is all the better for it (the same can’t be said for some of its parts, i.e. the aforementioned Capitol Hill-K Street-Georgetown axis, but I digress). And while this fragmentation has let scenes develop for every individual taste, pigeonholing not seen since high school lunch tables keeps apart people who should be socializing, communicating, and most importantly, partying.

It may be ambitious, but the new monthly getdown All Killer No Filler aims to end this, at least partially, by bridging the gap between the urban and alternative dance scenes, whose aesthetic and musical tastes have more in common than not.

Joint Chiefs, the cultural Voltron of Winston Ford of The Couch Sessions, Sonya Collins of The Glass House and Marcus Dowling of True Genius Requires Insanity, three of DC’s leading tastemakers and trend-spotters, planned, executed and hosted the inaugural All Killer No Filler on Thursday, October 1 at Liv Nightclub (2001 11th Street NW).

The evening began with two of DCs finest DJs on the turntables, spinning tunes guaranteed to get the crowd of early-adopters ready for an exciting night. First up was DJ Cam Jus, whose inventive mixes and eclectic musical tastes make him a perfect fit for everyone in this crowd. This is a selector on the rise: check out his excellent edits of Nike Boots and Bang for a taste of his style. Next up, the ever-present DC DJ Trevor Martin (Sneakers in the Club /$weat$hop), spinning hip-hop hits from ’89 to ’09. These tunes are tried and true – who doesn’t sing along when “Juicy” comes on?

Just as Liv’s bar and dance floor started to fill up, it was time for the night’s featured performer: up-and-comer RAtheMC (Strange Music). Here’s an artist who truly embodies All Killer No Filler’s ideals: a rapper-slash-singer whose skills on the mic are undeniable, who still tries to push things forward with fashion and style. Ra, backed by live drums and keys, wasted no time, rapping over “Uptown” and “D.O.A” before performing her own songs.

Any female musician who brings a combination of rapping and singing will be unfairly compared to Lauryn Hill (see: Estelle, every article about). Luckily, this doesn’t discourage Ra, whose re-working of Ms. Hill’s “Lost Ones” is a highlight of her set (check out the brand new video for this track). Ra definitely takes the MC part of moniker seriously, engaging the crowd every second she’s on stage. And as someone who had braces, I can’t imagine rapping with that much metal in your mouth (okay, so it’s no “Through the Wire” accomplishment, but nothing to sneer at). Her new mixtape, the Twitter-inspired “Trending Topics,” drops on October 6 and features production by Mick Boogie and DC’s own Judah (on the beat).

Accompanying Ra was frequent collaborator Mz. Mimz, whose mixtape “Thoughts While Getting Dressed” introduced DC to its newest soul chanteuse. Her sound reminds me of another DC R&B singer, Wayna. Hopefully, All Killer introduced the audience to another Next Big Thing.

Closing out the night were two of DC’s most in-demand DJs, Steve Starks and Nacey, who wasted no time in dropping the hottest in club/electro/dance bangers guaranteed to keep the crowd’s energy up. From their own songs (“Lose Your Love”) to brand new tracks (Duck Sauce’s “aNYway”) to the classics (Ghost City DJs’ “My Boo”), these are songs that if you’re not dancing, you may be broken.

Anyone who’s spent some time in the District knows there are more than just “two DCs:” there are countless subcultures and scenes, with something for everyone. But between the promotion the Joint Chiefs are known for, and the word-of-mouth growth similar events have garnered, All Killer No Filler is sure to change that, for the better.

Upset you missed one hell of a party? See you on November 5 for an All Killer No Filler guaranteed to push the limits of what a DC party can be.

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From David to Dexter… Michael C. Hall's Deeply Damaged Dramatics

Posted on July 11, 2008 | Leave a comment


I recently finished watching Six Feet Under in its entirety, during a week of marathon viewing sessions (the only way to truly appreciate TV, in my opinion). What a fantastic show… I regret not watching it earlier. SFU at its best explores the dualities of life, often by having the characters confront the contradictions of their personalities desires, struggling with the cognitive dissonance.

This is never more apparent than in the character of David Fisher, played by the brilliant Michael C. Hall, who has had the most post-SFU success as the titular Dexter on Showtime (which is quickly becoming the destination for quality TV as HBO’s franchises retire in succession). At first glance, the two characters seem very different, but they actually have a great deal in common.

*Spoilers to both series follow.*

David begins the series as a closeted gay man, battling his own homophobia and self-loathing. He is totally repressed and conservative, from his bottom-down attire, to his cold, controlling interactions with family and clients. Even as he comes out, he is hardly ever at ease with his life, struggling with how his sexuality defines him. He insists on living with what society has deemed as normal.

Dexter hides his life as a vigilante serial killer, and turns his loathing outward, to a world and to people he does not understand. He represses and channels his urges using the “Code of Harry,” killing only those that have wronged society yet fallen from justice’s blind grip with a cold, clean, bloodless brutality. Dexter is forever grasping for normality, figuring out what society expects, and faking the appropriate reactions.

They both love broken people. Dexter purposely seeks out the battered Rita; abuse has left her just as asexual as Dexter, and she becomes his ‘beard.’ And as Rita heals, Dexter begins to legitimately feel affection for Rita and the kids, a strange tinge of compassion that had previously been limited to his sister. Keith is David’s soulmate, but he must deal with the scars of an abusive father and reconcile his sexuality both with his race and his hypermasculine professions. These couples may be damaged, but they’re damaged in all the same places.

The fathers of David and Dexter loom over them, even in death. As he works to maintain the family business and follow in his father’s footsteps, David is haunted by his father’s disapproval (although since they only interact in dreams, we only get one side of the story, as David projects his inward anger onto his father’s ghost). Dexter’s father saves him from the tragedy that created him, and crafts a set of rules that will allow him to live in society. However, as Dexter is still a story in progress, we’ll have to see how he lives now that the truths about Harry has allowed him to stop deifying his adoptive father.

The characters also have significant relationships with their older brothers (who both die young, Brian at Dexter’s hand and Nate by David’s side). Both sets of brothers are two sides of the same coins. Dexter and Brian are both irreparably corrupted after witnessing their mother’s brutal murder, Scarface-style. However, as Dexter is molded by Harry, Brian’s demons are allowed to fester into the Ice Truck Killer. And while Nate tries to run from the funeral home that dominates their family, David tries his best to make peace with Fisher & Sons.

One of the central themes of Six Feet Under is finding purpose in life. After struggling for his entire life, David finally finds happiness with Keith and their adopted sons, continuing the tradition of Fisher & Sons, and eventually pursuing his musical interests in retirement. As he dies, he sees Keith one last time, and his final expression suggests that he’s ready to die, even if there is nothing beyond. Once again, Dexter’s entire story has not been told, but the end of the second season definitely entails a turning point in how Dexter will continue to define himself.

Michael C. Hall deserves a lot of credit for making these characters refreshing and real, but a lot must go to the writers and casting directors who saw his potential for such tormented characters, both in Six Feet Under (2001-2005) and Dexter (2006- ).

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Review: In Bruges

Posted on February 23, 2008 | Leave a comment


This won’t be a long review, because I can’t imagine speaking at length about this godawful waste of celluloid. While I hadn’t expected much, it received a respectable 77% on Rotten Tomatoes and looked better than any of our other options. Obviously, dumping season has begun.

The movie fails in many, many ways. It is not sharp enough to match the verbal ratatat and dark situational irony of a Quentin Tarantino or Guy Ritchie flick, which it tries desperately to be. It never establishes how dreadful the titular city is, instead substituting fat Americans in Yankee caps and bitchy Canadians for real satire. And it can’t decide what kind of film it wants to be: the dialogue isn’t funny enough for straight comedy, the action isn’t any good for a crime caper, and the dark moments are played for drama instead of black comedy. Also, the screenwriter thinks midgets, racism, and senseless gore are comedy gold.

Colin Farrell and Brendan Gleeson are wasted as a pair of hapless hitmen, as is Ralph Fiennes as their dreadful boss. They all play on the criminal stereotypes that have been done to death in every ironic crime movie since Pulp Fiction.

If you’ve already seen every Tarantino or Ritchie film and you want some of the style but none of the substance, see Smokin’ Aces or Layer Cake. But stay the hell away from In Bruges.

My Rating: 0 out of 5 midgets

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WTF Politico?!

Posted on February 20, 2008 | Leave a comment

Apparently I’m not the only one who sees the similarities between The West Wing and the 2008 primary season:

In presidential campaign, life imitates TV

However, they flip it a bit and draw on the Abby Bartlett – Hillary Clinton connection: ambitious First Ladies unsatisfied with serving cookies and hosting dinners.

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Did The West Wing Predict the 2008 Primaries?

Posted on February 14, 2008 | Leave a comment


So, I’ve finally been able to catch up on watching The West Wing, finishing the sixth season last night. Without Sorkin/Schlamme at the helm, it had become a shadow of its former self, using cheap “Must See TV” gimmicks and frenetic camerawork more akin to ER. But the introduction of the campaign midway through the sixth season rejuvenated the drama, reclaiming some of the gravitas that The West Wing was so adept at presenting.

The most interesting thing about watching the sixth season right now, however, is the often eerie similarity between The West Wing and the 2008 primary season. While not perfect, it’s a pretty good analogy:

Congressman Matt Santos (Jimmy Smits), the Hispanic representative short on experience but inspiring and charismatic, easily compares to Barack Obama. Even their speeches are cut from the same cloth, focusing on hope, innovative solutions, and uniting the country. VP Bob Russell (Gary Cole), the presumptive nominee with perceived weakness in the general, can be seen as Hillary Clinton with a bit of Bill Richardson’s glad-handling and resume-flaunting. I’ve always thought former VP John Hoynes (Tim Matheson) was Al Gore with Bill Clinton’s indiscretions, and Josh’s offer to make him a “party elder” seems to be the role those two men have in the party. The last two may be stretches, but the Santos-Obama connection cannot be dismissed.

For the Republicans, Arnold Vinick (Alan Alda) seems to be an idealized version of John McCain, with elements of Arlen Specter: a maverick moderate who fights for pragmatic solutions and regrets the influence of the Religious Right on the GOP. While Vinick’s main difficulty in securing the nomination is his pro-choice record, McCain has his own problems with conservative orthodoxy (immigration, campaign finance reform, the environment, etc). The Reverend Don Butler works as a Pat Robertson clone, but functions as Governor (and Reverend) Mike Huckabee in this analogy.

Despite being dogged by Huckabee, McCain is almost certain to wrap up the nomination in advance of the convention, while the Obama-Clinton battle may continue into the summer. Same thing happened in the West Wing. So, will Obama have to make a passionate speech on the floor of the convention after being asked to drop out for the sake of the party? Will a party elder come to his aid and swing the necessary voting blocs, like Bartlett did for Santos? Anything is possible, and this analogy may prove useful (even though the West Wing implied that the state delegations were winner-take-all, while the Democrats actually use proportional delegation).

One of the intriguing points that I hadn’t thought much about in the real world is the role President Bush will play in the convention. Will the GOP trot out Mr. 24%, 2 months before the election, perhaps letting McCain and Bush relive The Hug? Or will a two-term president be relegated to some opening remarks, pushed aside, and flushed away with the remainder of this administration?

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Review: There Will Be Blood

Posted on January 21, 2008 | Leave a comment


Yesterday, I re-watched There Will Be Blood at the E Street; my initial vantage point of somewhere under the screen didn’t really do the film justice, necessitating another viewing.

There Will Be Blood is Paul Thomas Anderson‘s oilman epic starring Daniel Day-Lewis, who simply dominates the film as Daniel Plainview. Much like he did with Bill the Butcher in Scorsese’s Gangs of New York, Day-Lewis creates an unrelenting, monomaniacal man obsessed with advancing himself and his ideals. Ironically, it takes a British actor to capture these two monuments to the American character.

The film is a character study set against the desolate background of the turn-of-the-century West. The barren land, dotted with derricks, ranches, and near ghost towns lets the film focus on Plainview and those with whom he interacts, removing all but what Anderson wants the viewer to see. When all that was known about the film was the people involved and that it was based on an Upton Sinclair novel Oil!, I expected a more complex film involving the Teapot Dome Scandal and the politics of the oil fields: something resembling Boogie Nights or Magnolia in the sense that it would weave together a diverse group of characters and their story lines. Instead, the film is more in line with Punch-drunk Love, decidedly smaller and more personal. As PDL was my favorite Anderson film until this one, I was surprised but pleased by the similarities.

While the easiest comparison to Plainview is Bill the Butcher, I also saw in him shades of Patrick Bateman, but drawn without irony for a satire. Here is a man who only sees others as impediments to his success; business, and his life, are zero-sum games in which only he can prosper. For this reason, he thrives on his hatred for people. The only person he loves is his adopted son HW, whom he immediately casts aside when he no longer fills a convenient niche. And when a grown HW attempts to stake out on his own, entering Daniel’s sphere of business, Daniel renounces him, re-imagining his parentage as a business maneuver of great foresight.

The central conflict of the film is between Daniel and evangelist Eli Sunday (Paul Dano). Daniel views Eli and his faith with great contempt, especially as his control of the town through the church rivals Daniel’s control through the oil. Daniel spurns Eli at every point – refusing to pay him a promised amount, beating him up, and even undercutting him by blessing the well himself. Dano is definitely skilled and keeps up with Day-Lewis as well as he can, and Eli is a challenging character. However, he cannot outlast the fierceness of his rival, and is ultimately consumed by the worldly pursuit of wealth that leaves Plainview a tragic, drunken waste.

Watching There Will Be Blood you cannot help but feel that you’re watching something important, and not just another pretentious independent film that strives for past greatness by making vague, symbolic gestures. Not to overstate this film’s importance or significance, but I couldn’t help but think of Citizen Kane at many points, especially as we see how far Daniel has fallen in his Xanadu-esque mansion. Anderson’s script is sharp (and gets a few nervous laughs) and his directing is masterful, the performances are deep and expressive, and Jonny Greenwood‘s score is vibrant, exciting, and new. The contrast between the expansive setting and the narrow focus of the film lets every piece of work together, drilling home some cinematic Oil.

My Rating: 5 out of 5 Milkshakes (I drink it up!)

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Review: Juno

Posted on January 17, 2008 | Leave a comment


Last Saturday, I saw Juno from the second row of a sold-out E street auditorium.

The retro look of the cell-shaded credit sequence reminded me of that of You can’t Do That on Television, the first of many 80s references. The tone is immediately set with a scene between Juno (Ellen Page) and a convenience store counter jockey (Rainn Wilson): with lines like “this is one doodle that can’t be undid, homeskillet,” it’s clear that the dialogue will be stylized hipster-ese. Luckily, I think the script balances the hypercool jargon with enough realism, preventing it from falling over the cliff of self-parody like Napoleon Dynamite.

The tight script is held together by great performances from nearly everyone involved, which is definitely a testament to the casting. Ellen Page is a developing star with range, as evidenced by the contrast between this role and her breakout one in Hard Candy. Arrested Development alumni Jason Bateman and Michael Cera (who are never on-screen together, unfortunately) both play guys affected by pregnancy who have difficulty adapting to the circumstances. Bateman, as the castrated former rocker, is too nice to root against, even if the character is less than admirable. If anything, Cera is underutilized, leading the love story element of the film to be a bit unfulfilling. Allison Janney and JK Simmons are the Best Parents Ever, quickly getting beyond the hangups of teen pregnancy and looking out for their daughter. Even newcomer Olivia Thirlby contributes, going beyond the typical best friend role.

The lone exception to the skilled casting and acting, and the film’s glaring weakness, is Jennifer Garner as mother-to-be Vanessa. Her bad acting distracts, especially against everyone else, and it unnecessarily complicates matters. Whether or not she actually has an unquenched maternal drive, or if she justs feels compelled by the pressures of suburban adulthood, is unclear due to a particularly flat performance (its probably the former). I would have loved to see Amanda Peet in this role, or anyone able to both emote and deadpan.

Jason Reitman turns in another solid satire, albeit one with a less biting script than Thank You For Smoking. While I don’t recall any specifics about his directorial style, I attribute the balanced structure of the picture to him. Keeping it grounded in character and story gives the film a lot of heart.

The press coverage of Juno has focused on the hype (“it’s the next Little Miss Sunshine!”), reading into it pro-choice/pro-life arguments, and comparing it to Knocked Up (from the girl’s perspective). However, I think that all misses the point: at it’s core, Juno is a simple, sweet story about less-than-perfect circumstances with an irreverence that is endearing and not mean-spirited. I’ll definitely be looking forward to the next efforts from everyone involved.

My Rating: 4 out of a possible 5 Fetuses

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My Golden Globes Picks

Posted on January 10, 2008 | Leave a comment

I wanted My First Post to be about something important. Unfortunately, I’ve opted instead for breadth over depth.

The ongoing WGA strike leaves the Golden Globes reduced to a press conference on Jan. 13. I think most people can agree that the Globes are a pretty superfluous awards show, allowing studios and networks to squeeze a little more free advertising (“press”) out of their prestige pieces. I don’t remember ever watching the awards ceremony on purpose, and I can’t recall specific winners. With that in mind, a press conference is a bit disrespectful for the winners who actually deserve awards for their craft. But I’m sure true artists don’t need the validation of the Hollywood Foreign Press Association (yes, I did look that up). And anything that keeps Bruce Vilanch out of work is good in my book.

So, here are my picks for most of the categories, omitting those for which I can’t make a well-informed choice; apparently I didn’t see many leading women films last year. These are personal favorites, and not my guesses at the winners. I’m curious how much overlap there will be in 3 days.

MOTION PICTURES

  • Best Motion Picture – Drama : There Will Be Blood, American Gangster, Atonement, Eastern Promises, The Great Debaters, Michael Clayton, No Country for Old Men.
    • I actually saw 6 of 7 in this category, and while they were all very well done, none had the gravitas of the epic PT Anderson flick (expect a review after a second viewing). I’d be happy with any of these winning, except for Atonement and The Great Debaters.
  • Best Motion Picture – Musical or Comedy : Sweeney Todd / Juno, Across the Universe, Charlie Wilson’s War, Hairspray.
    • And it only takes 2 awards before I’m equivocating. I’m reserving judgment until I see Juno, because of my anticipation and the buzz. I did enjoy Sweeney Todd, but I think Juno will be more up my alley. Only in the GG does an Aaron Sorkin picture end up with this company. It’s moot – CWW was disappointing on all fronts.
  • Best Actor – Drama : Daniel Day-Lewis, George Clooney, James McAvoy, Viggo Mortensen, Denzel Washington.
    • Once again, Daniel Day-Lewis dwarfs the competition in a role more intense, determined, and sadistic than Bill the Butcher.
  • Best Actor – Motion Picture – Musical or Comedy : Johnny Depp, Ryan Gosling, Tom Hanks, Phillip Seymour Hoffman, John C. Reilly.
    • Johnny Depp nailed the title role, but this ridiculous category doesn’t put up much of a fight.
  • Best Actress – Motion Picture – Musical or Comedy : Ellen Page, Amy Adams, Nikki Blonsky, Helena Bonham Carter, Marion Cotillard.
    • Placeholder vote – I need to see Juno!
  • Best Supporting Actor : Tom Wilkinson, Casey Affleck, Javier Bardem, PSH, John Travolta
    • This is a toss-up between him and Bardem, and while Bardem hulked and killed his way through No Country, Wilkinson’s role actually surprised me and punctuated a rather methodical film.
  • Best Supporting Actress : Amy Ryan, Cate Blanchett, Julia Roberts, Saoirse Ronan, Tilda Swinton.
    • Helene McCready is the “white trash Southie broad” for the ages – compare that to the sedate Beadie Russell and you can’t even tell it’s the same actress. By the way, does Horse Teeth get everytime she wanders on screen?
  • Best Director : The Coen Brothers, Tim Burton, Julian Schnabel, Ridley Scott, Joe Wright.
    • Where is PT Anderson? Not very often does a film get mentioned in the same breath as Citizen Kane and The Treasure of the Sierra Madre, even if only for scope and subject matter, not significance. The Coens get it by default for putting sweltering West Texas on film and ending up with molasses and whiskey.
  • Best Screenplay : Aaron Sorkin, Diablo Cody, The Coen Brothers, Christopher Hampton, Ronald Harwood.
    • This is a homer pick, straight-up. The dialog was sharp enough but the film fell flat for whatever reason. This might end up being Diablo Cody if I actually like Juno as much as I anticipate.

TELEVISION

  • Best Drama : Big Love, Damages, Grey’s Anatomy, House MD, Mad Men, The Tudors.
    • I’m abstaining here but thought it was worth mentioning. I’ve heard good things about Mad Men, but can’t pick it by process of elimination. No Dexter, Sopranos, Shield, Rescue Me, The Riches, or Brotherhood is just unacceptable. TV drama is in a new Golden Age and this is the best they can do? Good job guys!
  • Best Musical or Comedy : 30 Rock, Californication, Entourage, Extras, Pushing Daisies.
    • This is definitely more acceptable. Pushing Daisies is charming, as if Tim Burton decided to do a crime procedural, and it’s a close second. But 30 Rock is the funniest thing since Arrested Development, and it might actually have network support.
  • Best Actor – Musical or Comedy : Alec Baldwin, Steve Carell, David Duchovny, Ricky Gervais, Lee Pace.
    • Alec Baldwin takes his role in Glengary Glen Ross and turns it into a deadpanning straight man. Jack is one of the best roles on television while illuminating its worst aspects. The fact that your typical Hollywood Liberal plays a market-testing, soulless corporate shill like Jack is just another layer on the meta cake that is 30 Rock.
  • Best Actress – Musical or Comedy : Tina Fey, Christina Applegate, America Ferrera, Anna Friel, Mary-Louise Parker.
    • And it’s 30 Rock for the trifecta. Weeds has fallen into a funk and Mary-Louise suffers for it. For a comedic role, Liz Lemon is just sad, but she is best leading lady in a comedy since Mary Tyler Moore (That’s an example of a reference that I pull directly out of my ass, because it sounds right).
  • Best Actor – Drama : Michael C. Hall, Jon Hamm, Hugh Laurie, Bill Paxton, Jonathan Rhys Meyers.
    • Dexter is the role of a lifetime, and Hall brings the cynical detachment of David Fisher. Instead of being a homophobic gay man, he’s a charming serial killer – with a heart of gold. Sadly, I don’t know which one most Americans find scarier.
  • Best Actress – Drama : Minnie Driver, Patricia Arquette, Glenn Close, Edie Falco, Sally Field, Holly Hunter, Kyra Sedgwick.
    • File this with Amy Ryan. Seeing an actress capture a character that we don’t often
      see on screen, yet making it feel vivid and real is always award worthy. Plus, its The Riches only nod.
  • Best Supporting Actor : Kevin Dillon, Ted Danson, Jeremy Piven, Andy Serkis, William Shatner, Donald Sutherland.
    • This is a surprisingly weak category, and while Johnny Drama will probably split votes with Ari, only one of the characters is still entertaining. They should end Entourage and spin-off a show for Johnny Drama, but instead he’ll have to carry a show from a supporting role.

For the most part, the voters did pretty well. There are only a few glaring omissions from the entire list (Zodiac?), and clear winners in each category. Ironically, I’ve now contemplated the Golden Globes more than ever, and the presentation is a mere formality. Hopefully, I’ll be able to see Juno soon and vindicate picking it three times on spec.

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