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3536 spends the night at Cowell & Drew

damn thing almost ran out of gas on me.

(every night the route supervisor fills the gas tanks to 3000 psi for the next day of service. my fuel gauge read at just over 250 psi when i checked it, and i still had two more lines to drive before i turned my bus back into the pad (unitrans' bus yard). since shop wasn't available to tow back to the pad this late, tonight's supe had to bring me a new bus and 3536 is spending the night at cowell and drew in south davis.)

i came back to my dead vehicle after turn-in to snap some quick pictures:

Little Prague

I sat down with four friends at a table in the bar of Little Prague
And in my inebriation, I concocted my own volatile cocktail
Of sambuca and Sierra Nevada while thinking about pairs:
Two brothers; beer and liquor; boss and worker; lovers;
Even left channel/right channel on stereo speakers
And how effortlessly the best resources allow one to manipulate
The volume, the panning, the sound of sound,
To be in full control of one’s craft,
Granted one knows what the hell one’s doing,

And when “Billie Jean” blared from the dance floor stack
I stood up to pay tribute to the late King of Pop.
There, as I kicked, spun and stumbled shamelessly,
I lured you in. I had your attention,
Refusing to simply glance and look away.
No. You stared, or so my wingmen observed
As they sent me away for yet another drink
Or to capitalize on this uncommon opportunity.

So, during a light-hearted exchange at the bar
Of where we’re from, what we do, and what we like,
I noticed how close you already wanted to be.
Even if only to supersede electronic music with chitchat,
Your cheek was pressed against mine
Like a grandson blessing his grandmother,
Wishing her a thousand healthy days,
Keeping her a stone’s throw away
Just in case wishes don’t come true,
Or as if we were two longtime friends reuniting,
Greeting each other as the French do, avec bisous,
Hoping that our bond holds to the end of time,
Or, perhaps, holding out for something more.

And speaking of longtime friends,
While that friend of yours fucked me over
By taking you aside, offering cautionary words,
Forbidding you to return to the moment we made,
She let me see how minimally I’m in control of my own craft,
How little I know what the hell I’m doing,
Because if I was a man of tireless effort
And had tried just the slightest bit harder to keep you close,
The person leaning on you, cupping hand around mouth,
Shouting “Let’s go someplace else!” into your ear
Could just as easily have been me.

Mindthegap

your love will be safe with me

Bon Iver's night at the Fox Theater in Oakland, CA was rich with history: the three members of Megafaun, the opening act, are former bandmates of Bon Iver's frontman Justin Vernon. These four men made music together as a North Carolina-based band called DeYarmond Edison until 2006, when the well-documented events surrounding Vernon's health occurred. Needless to say, they remained close friends after DeYarmond Edison's breakup, and I consider it a privilege to have seen the two resulting bands in the same show. Vernon even joined Megafaun onstage to play bass for one song, while Megafaun returned the favor by joining Bon Iver for the grand finale: a Megafaun song titled "Worried Mind."

Let's face it: a good number of people at the show on Thursday were there to hear one song: "Skinny Love." In fact, I'd say "Skinny Love" is to Bon Iver as "Into the Dark" is to Death Cab, as "Stairway to Heaven" is to Led Zep: it's the definitive song for many. And it showed: two girls who sat right front of me sang along to "Skinny Love" and nothing else. When the rest of the band left for "re:Stacks," their boyfriends left to get drinks, and were gone until "The Wolves." Of course this irritated me, because the spirit of Bon Iver is embedded in so much more than just one song. (But, for the record, if I had to choose a definitive Bon Iver song, it'd be "re:Stacks.") Though the recordings on For Emma, Forever Ago and Blood Bank are quiet and meditative, recorded solely by Vernon, the four-piece live group really knows how to extract as much energy as possible, to oscillate intensities through quieter songs (re:Stacks, Beach Baby) and louder songs (Blood Bank, For Emma). That, to me, is the spirit of Bon Iver: to recreate what it must've been like to be in that Wisconsin cabin by one's self, to conjure all these different emotions and play around with them momentarily, before their inevitable "unlocking and lifting away."

Bon Iver's set list:
Flume
Lump Sum
Brackett, WI
Blood Bank
Beach Baby
Skinny Love
re:Stacks
Tampa to Tulsa (Jayhawks cover; Mike Noyce, lead vocals)
For Emma
The Wolves

Encore:
Creature Fear/Team
Worried Mind (with Megafaun)

A few pictures:

misc. phone pictures

the first two are test pictures from my phone. after doing lots of experimenting i think i've finally found out how to get the best shots from its camera. they look pretty good for phone pictures, eh?

the third picture isn't part of the artsy set; just one that i took after my friend alvin scored a hanger during a game of table shuffleboard at a bar in hayward. (a hanger is a weight that hangs off the end of the table without falling off the edge. the table itself is very slippery, making this shot super hard to accomplish and awarding its shooter an extra point.) i'll admit it was an epic shot but i ultimately won the game.

Review: Dirty Projectors, Bitte Orca

Dirtyprojectors-bitteorca

Blue and red speech bubbles, masking the faces of frontman Dave Longstreth's two female counterparts: it's apparent by the record's cover that dualism is a common motif in the Dirty Projectors' latest album, Bitte Orca. In terms of the band's past releases, this album just exudes clarity: all nine tracks are structured much more traditionally than their previous work, making it easier to listen to and, thus, more accessible to new listeners. Even then, all of the songs on the album maintain the trademark tinge of the band's experimental side: time signatures seem to disappear and return instantaneously (e.g. the acoustic fingerpicking of "Two Doves"), and the harmonies between the three female vocalists demonstrate a juxtaposition of both jarring dissonance and angelic consonance (e.g. three minutes into "Useful Chamber"). Their distinct style even pays tribute to some of the best composers of the past: two-and-a-half minutes into "Remade Horizon," the contrapuntal "hoos" quickly reminded me of Milton Babbitt's first section of "Philomel."

Among others, these traits create confusion within the album's clarity, its professional polyphony off-set by moments of sloppy amateurism (e.g. the awkward electric guitar about three minutes into "No Intention"). The music on Bitte Orca, then, helps to exhibit the dualism that's clearly present in the lyrics ("Stillness Is the Move?" Duh.). The instrumental execution is both clear and confusing, polished and sloppy. Which, happily, is everything I love about music: in an industry where popular song structures have become excessively formulaic and executed with minimal distinction or originality, it's rewarding to hear bands like the Dirty Projectors maintain an uncommon, avant-garde technique, acquiring new listeners while keeping their devoted guessing with each subsequent listen. For me, and many other people I'm sure, this could easily be the album of the year.

Adam - HD Trailer

i just saw this with a friend. how did i not pay any attention to it till now? i've developed somewhat of a crush on rose byrne ever since i started watching damages religiously. and i knew she was in this movie, but i didn't think anything of it until i was looking for a movie to watch today, and saw that it was playing at the vine in livermore. obviously adam hasn't received as much word-of-mouth circulation as (500) days of summer, quite possibly because the former is considerably less feel-good and lighthearted than the latter, but i think i enjoyed adam more.

wes anderson's fantastic mr. fox looks VERY promising

There's no reason to touch 3D animation; Pixar rules that domain. 2D just wouldn't be fun enough. Why even touch animation, then? Naturally, I had my doubts when I first heard that this film was going to be captured in stop-motion, but after seeing this trailer I can't see how the story could be told any other way.

Truth be told, I can't even remember the last time I sat down to watch a stop-motion film. But this takes me back to a golden age, reminiscent of my favorite movies as a kid: Wallace and Gromit, Chicken Run, and James and the Giant Peach. Only now, I'm old enough to appreciate the attention given to detail. It's all far more noticeable, such as the subtle movement of the foxes' fur. Sure, Wes Anderson has never told a story in the stop-form medium, yet the camera work and the voice-acting and the humor are all iconically his. It's both familiar and new. It's a gamble, but seeing this trailer assures me that it's probably a safe one. Anderson's last film, The Darjeeling Limited, made a lasting impression on me when I saw it in the theatre. It was the first of his I had seen, and since then it has become one of my favorites; I even wrote an essay on it for a film studies class. I've since seen all his other movies, and I can't wait to see this follow-up.

side

just got home from a fun afternoon with four other close friends from middle school, high school and/or college. had a delicious bbq at peter's house and went kayaking at lake del valle in livermore. after summer we won't get to see each other much, but it's comforting to know that even after four years none of us have drastically changed, and that's how it should be.