We're living in an age where lazily-conceived and improperly executed television shows are the norm. Many shows start fantastically and then as the plot gets more and more complicated, the show ultimately goes downhill (see Lost.) It almost becomes a chore to have to keep up with these idiotic shows that have to bring on guest stars and focus on their musical selections to keep audiences watching.
I am confident that this will not be the case with Arrested Development.
Arrested Development is that rare television show that will get noticed by some but will most likely fly over most people's heads. The show is, in short, a "riches to rags" story of a severely dysfunctional family. It's too strange and random to be mainstream, but too hilarious to take cult status. Arrested Development doesn't have a laugh track like most sitcoms and it doesn't look like it involves any more than a few sets and a superb cast. The show, unlike other sitcoms these days, relies on the talent of the actors and their interactions with each other and the extremely well-written script. Most of all, Arrested Development is fun to watch. It's hilarious as it's a comment on American society today--we all want to have lots of money, we just don't want to work. The most noteworthy aspect of Arrested Development is that the audience is just as much looking forward to the next funny line as they are to the plot.
The first episode, "Pilot", begins at a boat party for the retirement of George Sr. Bluth, neatly played by Jeffrey Tambor. His son, Michael Bluth, played by Jason Bateman, has been anticipating taking over his father's company. To Michael's dismay, George Sr. announces that he is making his dramatic wife, Lucille, hilariously played by Jessica Walter, the new CEO. Much to everyone's surprise, the SEC soon takes control of the ship and arrest George Sr. for fraud, leaving the family in trouble as he is the one who brings in the money. The SEC announces that they are putting a halt on the company expense account, which frightens the family as they have been living off of George Sr. Michael decides to take a job in Arizona to separate himself from his lazy family, but they all end up begging for his help. Eventually, Michael decides to stick around and help everyone for his awkward son George Michael, played by Michael Cera, who wants to stay close to the family in California. Michael decides to try to save the endangered family business.
The following episode, "Top Banana", starts with the local news channel reporting that the Bluth Banana Stand has gone up in flames. The episode then takes us back a week earlier where George Sr. tries to make Michael feel better by explaining that there is "always money in the banana stand." George Michael asks for more hours at the banana stand and, in turn, Michael makes him "Mr. Manager", a running joke throughout the 22-minute long episode. Michael, fed up with his unemployed family, appoints his niece Maeby, played by Alia Shawkat, to work at the banana stand under George Michael. Maeby turns into a nuisance, taking money from the register and throwing out bananas, assuming that the inventory will match their profits, (but later learning that this is not exactly the case.) Michael's sister Lindsay, played by the beautiful Portia de Rossi, insists that she is supporting her husband Tobias, played by the obnoxious David Cross, even though he is unemployed. Tobias looks for work as an actor. Michael asks his mother Lucille for the company flight records, and she insists that they are in a storage unit. Alas, a storage unit goes up in flames, Michael's other brother G.O.B., played by the forgettable Will Arnett, fails at his simple job of delivering a letter and Michael, wanting to gain control of his life, encourages George Michael, who feels that he has royally screwed up the banana stand business by letting Maeby screw things up, to set the family banana stand on fire. Michael then visits his father in jail and proudly announces that he set the stand on fire--but this pride turns to disgust when George Sr. screams that there was $250,000 implanted in the walls of the banana stand, hence his signature line (receited three times in this episode) of "there's always money in the banana stand."
Never taking itself too seriously, Arrested Development contains a minute-long segment at the end of each episode with the highlights from the following week's episode, something that most television shows do these days. However, what we see in this segment is not what we will see the following week as the show had not been picked up at the time of production. It later became a staple of the show, used to resolve an episode's storylines.
Arrested Development is a bit confusing at first. Although there are many characters, I had trouble understanding what the relationships were. It's simple: this is an extended family going through crisis--or, this is Michael going through crisis with the other family members hoping Michael can get the business going again so they can be spoon-fed money without working.
The show is presented in documentary-like style, containing few cuts and appearing to be done in just a couple takes.
Arrested Development is good. Really good. Unfortunately, this probably means that the show will not last long as the general public goes for spoon-fed material. Nevertheless, in a society filled with stupid television shows, Arrested Development is gold.
Tuesday, March 17, 2009
Sunday, March 15, 2009
Lively ‘Lykke Li’ Rocks, Lyke, a Sold Out Show
On an unusually warm Friday night in February, I was lucky enough to see the multi-talented 22-year old Swedish songstress Lykke Li (pronounced Looh-kuh Lee) perform an all-ages show at the 1100-capacity Metro in Chicago. Opening for Lykke Li was the critically acclaimed folk duo Wildbirds and Peacedrums, whom I unfortunately missed. The sold-out show was filled with a diverse audience, from the bro-iest of bros to the highest of hippies. Li went from a gentle hummingbird in opening track “Dance, Dance, Dance” to a a fierce headbanger in songs like “Complaint Department” and especially in a hilarious rendition of Lil’ Wayne’s “A Milli”. Li proved to be a fantastic, personable, and energetic live performer, but it seemed that the audience didn’t know what to do with themselves for much of the time. The setlist was a bit scattered with Li performing one upbeat song followed by a slower song, and the process repeated itself over and over.
Lykke Li (full name Li Lykke Timotej Zachrisson) released her first LP, Youth Novels, in 2008. Produced by Björn Yttling of Peter Bjorn and John, Youth Novels received high praise from indie publication Pitchfork (7.8/10) and mainstream music publication Rolling Stone (3.5/5). The latter voted Li’s song “I’m Good, I’m Gone” the 24th best song of 2008. Her music is original, indie-dance pop with influences ranging from early Madonna to A Tribe Called Quest. Youth Novels contains the singles “Little Bit”, “I’m Good, I’m Gone”, “Breaking It Up”, which Li performed on Conan O’Brien back in August of 2008, and my personal favorite, “Dance, Dance, Dance”.
The set design of Lykke Li’s performance at Metro was simple yet effective. It was a very black-and-white affair, down to what Li and her bandmates were wearing. A large black banner with Lykke Li’s name spelled out in white lettering rested behind the band. Li was positioned center stage, often moving her body but rarely walking stage right or stage left. The sound was decent but could have been turned down a bit.
Lykke Li knows how to get a crowd riled up. Her on-stage persona is lively and engaging. With this said, her setlist was poorly constructed. Writing a successful setlist is a complicated process, especially for Li as her music is in that middle ground of not entirely dance-y, but not exactly chill either. Many people were bobbing their heads, some people were all-out dancing, but most people were standing still and didn’t know what to do. And once they started dancing to an upbeat song, Li would follow with a much softer track. It went like this throughout the show; at one point my always-outgoing and confident friend yelling at me, “I don’t know what to do with myself!” At the close of Li’s set, I heard many upset fans complaining how they had spent upwards of thirty dollars for their tickets and Li was on stage for no more than fifty minutes. A set of under an hour is quite short for a headliner; however, Li is a new artist and doesn’t have as much material to cover as, say, Cat Power or Mirah.
If I were Lykke Li, I would have made some changes to the show at Metro. I would have played at least two upbeat songs consecutively to stimulate the crowd. I would have built the excitement level leading up to Li's four singles with more dramatic instrumentation and I would have used the megaphone more frequently (as she uses on the album version of “I’m Good, I’m Gone” and “Breaking It Up”). However, I still enjoyed the show because Li proved to be an engaging, passionate, talented, and above all, unique live performer.
Lykke Li (full name Li Lykke Timotej Zachrisson) released her first LP, Youth Novels, in 2008. Produced by Björn Yttling of Peter Bjorn and John, Youth Novels received high praise from indie publication Pitchfork (7.8/10) and mainstream music publication Rolling Stone (3.5/5). The latter voted Li’s song “I’m Good, I’m Gone” the 24th best song of 2008. Her music is original, indie-dance pop with influences ranging from early Madonna to A Tribe Called Quest. Youth Novels contains the singles “Little Bit”, “I’m Good, I’m Gone”, “Breaking It Up”, which Li performed on Conan O’Brien back in August of 2008, and my personal favorite, “Dance, Dance, Dance”.
The set design of Lykke Li’s performance at Metro was simple yet effective. It was a very black-and-white affair, down to what Li and her bandmates were wearing. A large black banner with Lykke Li’s name spelled out in white lettering rested behind the band. Li was positioned center stage, often moving her body but rarely walking stage right or stage left. The sound was decent but could have been turned down a bit.
Lykke Li knows how to get a crowd riled up. Her on-stage persona is lively and engaging. With this said, her setlist was poorly constructed. Writing a successful setlist is a complicated process, especially for Li as her music is in that middle ground of not entirely dance-y, but not exactly chill either. Many people were bobbing their heads, some people were all-out dancing, but most people were standing still and didn’t know what to do. And once they started dancing to an upbeat song, Li would follow with a much softer track. It went like this throughout the show; at one point my always-outgoing and confident friend yelling at me, “I don’t know what to do with myself!” At the close of Li’s set, I heard many upset fans complaining how they had spent upwards of thirty dollars for their tickets and Li was on stage for no more than fifty minutes. A set of under an hour is quite short for a headliner; however, Li is a new artist and doesn’t have as much material to cover as, say, Cat Power or Mirah.
If I were Lykke Li, I would have made some changes to the show at Metro. I would have played at least two upbeat songs consecutively to stimulate the crowd. I would have built the excitement level leading up to Li's four singles with more dramatic instrumentation and I would have used the megaphone more frequently (as she uses on the album version of “I’m Good, I’m Gone” and “Breaking It Up”). However, I still enjoyed the show because Li proved to be an engaging, passionate, talented, and above all, unique live performer.
Sunday, March 8, 2009
Larry Gallagher, "Can I Go Now?"
Larry Gallagher is one cool fella.
Born in the 60s, Gallagher has lead quite an unconvetional life. He has been a musician throughout his life, while also being an ongoing contributor to Details, Esquire, and the New York Times Magazine on subjects from smoking psychedelic toad sweat to yoga in India. In '96, Gallagher decided he needed a life change: he joined a Zen Buddhist monastery on a mountaintop just outside of L.A. for three years, living as a monk with none other than Leonard Cohen. In Gallagher's words, all he got out of these years was a girlfriend and the song "I'm Deep", contained on Can I Go Now? These days, Gallagher seems to have settled down in San Francisco and has released two albums: An Endless Chain of Accidents and his latest, Can I Go Now?
Sometimes similar sounding to Belle & Sebastian and E of Eels, one thing is certain: Larry Gallagher is a storyteller. Whether discussing his deepness on tracks like "I'm Deep" or his desire to have a conversation with Shakespeare on "Me and William Shakespeare", Gallagher has an ability that other indie-rock musicians aren't able to convey so clearly in their art: he can be satirical on tracks like "Horny Teen Sluts", while still being taken seriously on standout "Tired of Me".
Opening Can I Go Now? is the track "TV is Your Friend," which confronts Gallagher's self-awareness: "Don't think that I don't see you eyeing me". "It's Only Life" is a bouncy affair with Gallagher comforting himself by telling himself to "relax, put down the ax, it's only life."
"I'm Deep" starts with a sitar and a Buddhist chant; once this intro has played its course, Gallagher beings to play a catchy guitar progression and croons, "I'm Deeeeeeeeep! Will you sleep with me?" It works on many fronts; above all else, Gallagher is able to showcase his skewed sense of humor while displaying humility and his penchant for songwriting in four minutes.
Standout track and fan favorite "Try Not to Think About Bugs" is a waltz-y, Fiona Apple-esque, eery bedtime lore story that deals with, well, various bugs creeping and crawling and ceasing to escape one's conscious. Musicians Lisa Petrie on flute, Christina Bogiages on oboe, Paul Scriver on tenor saxophone, and Jarratt Rossini on bassoon play a large role in creating the masterful instrumentation. What works so well about "Try Not to Think About Bugs" is that the execution goes far beyond most songs' potential--it literally carries you to a childhood land where anything is possible. No contest--"Bugs" is the winner on Can I Go Now?.
Another standout track, "Little Martian Girl", starts with that all too familiar alien/whistle/UFO noise. Gallagher, eerily sounding like E of Eels, reminds us why he's different from other artists on songs like "Little Martian Girl"; that is, it's these cool little details that Gallagher adds that makes Can I Go Now? stand out from the hundreds and hundreds of indie singer/songwriters' music. Gallagher knows that his most ardent fans will appreciate these intricacies and I can't argue with that.
Gallagher falls flat on "Fuck This Noise" and the brief "Me and William Shakespeare". The former lacks the carefully considered instrumentation contained on the rest of the album and, athough having an interesting arrangement of background vocals by Laurie Amat, Sharon Gillenwater, and Kid Beyond, it comes across as boring and repetitive. "Shakespeare", although comical with well thought-out lyrics, sounds like just another filler track on an indie album about some guy telling a story that, truthfully, nobody wants to hear. "Shakespeare" seems more trying than on other humorous tracks, including "TV is Your Friend" and "I Am Better Than Your God".
"Tired of Me" is a heartbreaking, observant love song that shows Gallagher in his most vulnerable state. Gallagher is worn out, let down, and upset with himself and his partner. It's the story of a failed relationship from Gallagher's perspective. The song is refreshingly honest and subtle, with Gallagher's emotions on full display. It's obviously not as fun and frisky as "Bugs", but it's a welcomed addition to Can I Go Now? and it avoids being trite, like so many other male singer/songwriters' ballads.
Can I Go Now? is an involved, self-aware, honest, intelligent album that knows just when to be satirical. And when it's satirical, it usually works extremely well. Gallagher and his team's instrumentation is outstanding and the production is perfectly balanced. The great thing about Can I Go Now? is Gallagher's way of compiling these beautifully written stories and unrelated thoughts and emotions and creating a single coherent album. That takes masterful skill--most artists who attempt to throw so many subjects into one album fail to do so in a functional manner. Gallagher is a man who was meant to be a musician, taking sounds and instruments from various genres and claiming them his own. It's the instrumentation and the carefully pinned songwriting that separates Gallagher apart from these other musicians, (who, unfortunately, are receiving the fame.)
Larry Gallagher's music can be found on iTunes, CD Baby, and, of course, at one of Gallagher's shows.
(this is my enhanced review)
Born in the 60s, Gallagher has lead quite an unconvetional life. He has been a musician throughout his life, while also being an ongoing contributor to Details, Esquire, and the New York Times Magazine on subjects from smoking psychedelic toad sweat to yoga in India. In '96, Gallagher decided he needed a life change: he joined a Zen Buddhist monastery on a mountaintop just outside of L.A. for three years, living as a monk with none other than Leonard Cohen. In Gallagher's words, all he got out of these years was a girlfriend and the song "I'm Deep", contained on Can I Go Now? These days, Gallagher seems to have settled down in San Francisco and has released two albums: An Endless Chain of Accidents and his latest, Can I Go Now?
Sometimes similar sounding to Belle & Sebastian and E of Eels, one thing is certain: Larry Gallagher is a storyteller. Whether discussing his deepness on tracks like "I'm Deep" or his desire to have a conversation with Shakespeare on "Me and William Shakespeare", Gallagher has an ability that other indie-rock musicians aren't able to convey so clearly in their art: he can be satirical on tracks like "Horny Teen Sluts", while still being taken seriously on standout "Tired of Me".
Opening Can I Go Now? is the track "TV is Your Friend," which confronts Gallagher's self-awareness: "Don't think that I don't see you eyeing me". "It's Only Life" is a bouncy affair with Gallagher comforting himself by telling himself to "relax, put down the ax, it's only life."
"I'm Deep" starts with a sitar and a Buddhist chant; once this intro has played its course, Gallagher beings to play a catchy guitar progression and croons, "I'm Deeeeeeeeep! Will you sleep with me?" It works on many fronts; above all else, Gallagher is able to showcase his skewed sense of humor while displaying humility and his penchant for songwriting in four minutes.
Standout track and fan favorite "Try Not to Think About Bugs" is a waltz-y, Fiona Apple-esque, eery bedtime lore story that deals with, well, various bugs creeping and crawling and ceasing to escape one's conscious. Musicians Lisa Petrie on flute, Christina Bogiages on oboe, Paul Scriver on tenor saxophone, and Jarratt Rossini on bassoon play a large role in creating the masterful instrumentation. What works so well about "Try Not to Think About Bugs" is that the execution goes far beyond most songs' potential--it literally carries you to a childhood land where anything is possible. No contest--"Bugs" is the winner on Can I Go Now?.
Another standout track, "Little Martian Girl", starts with that all too familiar alien/whistle/UFO noise. Gallagher, eerily sounding like E of Eels, reminds us why he's different from other artists on songs like "Little Martian Girl"; that is, it's these cool little details that Gallagher adds that makes Can I Go Now? stand out from the hundreds and hundreds of indie singer/songwriters' music. Gallagher knows that his most ardent fans will appreciate these intricacies and I can't argue with that.
Gallagher falls flat on "Fuck This Noise" and the brief "Me and William Shakespeare". The former lacks the carefully considered instrumentation contained on the rest of the album and, athough having an interesting arrangement of background vocals by Laurie Amat, Sharon Gillenwater, and Kid Beyond, it comes across as boring and repetitive. "Shakespeare", although comical with well thought-out lyrics, sounds like just another filler track on an indie album about some guy telling a story that, truthfully, nobody wants to hear. "Shakespeare" seems more trying than on other humorous tracks, including "TV is Your Friend" and "I Am Better Than Your God".
"Tired of Me" is a heartbreaking, observant love song that shows Gallagher in his most vulnerable state. Gallagher is worn out, let down, and upset with himself and his partner. It's the story of a failed relationship from Gallagher's perspective. The song is refreshingly honest and subtle, with Gallagher's emotions on full display. It's obviously not as fun and frisky as "Bugs", but it's a welcomed addition to Can I Go Now? and it avoids being trite, like so many other male singer/songwriters' ballads.
Can I Go Now? is an involved, self-aware, honest, intelligent album that knows just when to be satirical. And when it's satirical, it usually works extremely well. Gallagher and his team's instrumentation is outstanding and the production is perfectly balanced. The great thing about Can I Go Now? is Gallagher's way of compiling these beautifully written stories and unrelated thoughts and emotions and creating a single coherent album. That takes masterful skill--most artists who attempt to throw so many subjects into one album fail to do so in a functional manner. Gallagher is a man who was meant to be a musician, taking sounds and instruments from various genres and claiming them his own. It's the instrumentation and the carefully pinned songwriting that separates Gallagher apart from these other musicians, (who, unfortunately, are receiving the fame.)
Larry Gallagher's music can be found on iTunes, CD Baby, and, of course, at one of Gallagher's shows.
(this is my enhanced review)
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