Tom Waits – Closing Time

closing time.png

The sound of this album isn’t as surprising as how good it is, and what it actually is. You’ve heard it before. Before Waits was an ashtray given a singing voice, before he unleashed an Industrial-Blues masterpiece that was more horrifying than any Death Metal album cover he made Closing Time. In a way, this is the antithesis of his later career, with zero wild theatrics. Before Waits was the bizarro man reporting from the bizarro world, he was too ordinary to do anything but sing about heartbreak.

Even if Waits never made Bone Machine, this record would still be spectacular. I’m amazed this was even made and praised. As we know, males are supposed to be tough in society. No one goes out with a failure. The only time men are allowed to cry on stage is if they turn their wounds into theater of noise and anger. The whole rock’n’roll thing, especially in the depressed 90’s was about that.

So Reznor and that dude from Alice in Chains still sounded like tough males, somewhat. Nothing against them – Nine Inch Nails are my favorite band after all. It’s just that male vulnerability is so interesting, feels so hidden in real life yet here it is in music. The final song here lets go of words.

If the whole album is a concept album about singing in a bar hoping that it might attract that girl on the corner to like you, then the final instrumental is defeat. “Ol’ 55” opens with some happiness, the sound of you going to the bar hoping there’ll be a good show. “I Hope” comes right after when you spot the girl, and after that it’s constant swinging from one extreme to the next. On “Ice Cream Man”, you have confidence and you’re sure it’s going to work. “Lonely” is when it feels like a death sentence, you’ll never have the girl and nothing else ever. Eventually, there’s no point in singing – it’s closing time, the band plays a few more chords and melodies and you’re back home alone.

It’s such a lonely record. “Martha” is heartbreaking, a song I still find it difficult to hear. Although Waits mentions he got a lover, possibly a wife, it’s not convincing that he’s okay with it. Defeat is in his tone when he sings of poetry and prose, singing with the knowledge that no relationship will ever be that good. “Martha” is painful not because it’s about meeting with someone you used to be deeply in love with. All over it is the realization that nothing will ever be like this again, that all love afterwards is just an attempt to re-capture it. There’s a sense of doom there that’s just sad.

“I Hope That I Don’t Fall in Love With You” is the second big highlight there. There are a lot of songs about love and heartbreak, but not enough about disliking being in love. Finally we have a song that admits it, falling in love is no fun and sometimes it’s just better not to experience the whole thing. This song sets the stage and gives everything here the context. On this album, Waits isn’t someone who goes through the pain and joy of heartbreak. Love is, overall, bad for Waits. Few songs here are actually about being in the relationship – perhaps only “Little Trip” and by the time it arrives it sounds more like fantasy. Remember that “Ice Cream Man” is courting, not love actually working out. Although “Lonely” isn’t the best song here, it eventually becomes its centerpiece. It’s an album of loneliness, of heartbreak with no way out. In this album heartbreak isn’t something you go through but a state you’re trapped in – either hoping it won’t happen, to clinging to a girl, to being stuck in your memories and eventually admitting to yourself how lonely you are.

“Martha” and “I Hope” are the highlights, with most things providing good transition to flesh out the concept idea. While everything here is pretty good, these songs are knock-outs and everything else mostly sounds good in context. It’s an album you reach out to when you’re in a specific mood, but when the night is dark, long and lonely everything here is great. Outside this context, these songs can lack personality. “Rosie” is pretty good, but I doubt anyone would remember it outside the album. Bring the aforementioned context again and the song becomes essential. This is an album to hear in one sitting when heartbreak makes it feel like nothing good will ever happen. I’m sure there are many albums like it, but Waits is so specific in how he captures this hopeless loneliness. It’s unique because of how well it understands its genre and that’s why it remains a shocking record. Even if Waits never became the morbid blues man, this record would remain just as great.

3.5 empty bottles out of 5

Toradora

toradoraNote: this series has been dropped at episode 14

Unlike the main protagonist of this anime, I do not have much strength to withstand torture. Put me in the clutches of a diabolical serial killer/torturer, and I have no idea what I’d do. Ryuji, our hero, is one of a kind. Bards should sing about him in taverns all across Tamriel. For 14 episodes, he stands Taiga’s relentless abuse with a smile.

In one of the greatest songs ever written, the extremely white lead singer of the Smiths sings about how it’s so easy to laugh and so easy to hate. Kindness and gentleness are difficult, and I do agree with him. That said, I wonder if the band and their fanbase would change their mind if they saw the anime. Actually, considering how huge this anime is, becoming iconic in the school genre – I think they won’t.

vlcsnap-2017-05-13-18h53m27s240

I’m a defender of the school genre. Many rant about how immature and derivative it is, but few people didn’t go to school. A lot of things happen in school and you meet a lot of people, so it’s a place rife for stories. Its low-key and stable environment actually makes it excellent for stories driven by characters. Conflicts will have to rise from within and not an external UFO coming to wreck the party. These shows rely heavily on their characters, and it’s enough to have a decent, odd cast – see Haganai – to make something decent. Toradora is a major failure because of how insufferable its cast is.

Since we’re talking about symbols and not actual human beings, I need to find a way to explain why and how disgusted I was with them and how that lead me to conclude this anime is horrid crap. Many a great story are about horrible people. In fact, one of the best novels ever is about such a terrible murder. It’s their darkness, their psychology and reasons for being so that makes them so intriguing. How frightening these characters are because we understand them and see us in them. Part of our obsession with villains and their backstories, or with serial killers’ childhoods is because we want to know why they’re like this.

Everyone in Toradora is a bit of an asshole. Actually, only two characters are but they’re so dominant that it’s easy to forget about the rest. Taiga is the big problem, since she’s both the main character and the worst. Tsunderes can often seem creepy, sometimes borderline Gacy-like sadistic. None of them are as bad as Taiga.

The archetype can be funny. Tsunderes’ appeal is their insecurity, how they address the Presentation of Self in Everyday Life – we put up a front in every social interaction, putting a different front in different places. The best Tsundere, Neptunia‘s Noire is all about this. Humor never comes from her being violent – she’s rarely is – but how hard she works on her image.

vlcsnap-2017-05-13-18h51m42s198

In contrast, Taiga is nothing but violence. She reacts to everything with violence, like a 10-year-old playing Elder Scrolls and thinking that it’s supercool to kill every NPC. She may not kill anyone, let alone essential NPC’s but it doesn’t make it any less creepy. In every episode, she beats up people at least 5 times. Her reactions are always with force, causing clear pain to the other characters. I’d expect anyone to beat her in return the first time.

The fact Ryuji stays there is flat-out creepy. Moreover, she treats him with pure condescension. Rarely, if ever, she addresses him in a way that’s not hostile. Early in the series they make a pact to help each other, but Taiga doesn’t actually help him until the middle of the series. All the episodes are about the characters doing stuff and Taiga beating people up. The anime never answers why, exactly, Ryuji puts up with so much physical abuse.

Yes, ‘abuse’ is the only word that can describes their relationship. Switch the sexes. Imagine if Ryuji was constantly beating up Taiga, calling her ‘bitch’ and so forth. It’s nothing but sick. You can only watch it for so long before getting tired of this torture porn thing. Not only Taiga is violent to everyone, she also has a weird entitlement problem. She expects Ryuji to take care of her and do everything for her. She never asks, demands with the expectations that Ryuji must do it for her.

In the end, she’s nothing but a horrible person who beats up everyone but also thinks everyone owes her everything. Now, a character being a terrible human being isn’t enough. How their actions are framed is important and now we get to the main problem. Taiga is framed as okay.

A backstory occasionally rears its head, feelings of insecurity do show themselves. None of is it actually dark, none of it gives us a glimpse into a troubled psych that can only react with violence and cannot connect to people. The backstory may justify anger, but the anime never acknowledge how bad Taiga’s case is. No one around her also reacts like they should. They treat her like she’s a quirky friend, someone who occasionally goes off, like that friend who swears a lot. This is a person who’s in desperate need of help and a lawyer. It’s no longer a person having anger issues but a criminal that everyone tolerates because the plot demands it.

vlcsnap-2017-05-13-18h51m15s202

Such light framing of dark material is unforgivable. Humor doesn’t have anything to do with it, but how the frame never addresses the darkness of it. Physical abuse leaves people with trauma. People react harshly to physical abuse. If people stay for a long time with a physical person, being nice to them and doing what they want it means they got issues of their own. I can’t stress how dark this material is, yet the light framing is disrespectful to anyone who went through physical abuse.

Taiga and the framing of her behavior towers over the anime, so everything else ends up pointless. No matter how hard they try, the creators frame Taiga as quirky and cute. Nothing can salvage the anime, but then again it doesn’t seem they try. There isn’t much in the way of stories or characters. Ryuji is like that dude from Haganai only not as hot. Somehow he manages to be perfect and eventually the center of the harem because he’s nice to everyone and doesn’t have wants of his own. To the anime’s credit, the secondary male actually has a purpose here and he’s a bit hot, but besides being a more energetic nice guy there’s nothing to him.

Other females consist of a wacky redhead who’s entertaining for five episodes and then becomes tiresome. As for Ami, she’s another generic asshole who’s overall unpleasant without the darkness. Like Taiga, she treats people like crap but the cruelty is never meant to shock or make us reflect. Funniest thing is how the anime passes her off as sexy. Not only the characters can’t drive a story, but they look bad.

vlcsnap-2017-05-13-18h52m47s102

Art style is another problem the anime suffers from. No one has a distinctive look. School anime, at worst, create pleasing to look at characters. You may not experience anything profound but there is aesthetic value in the designs, in understanding human beauty. Designs don’t have to break boundaries, but little touches like Sena’s butterfly and deep eye color make an anime more pleasing to look at.

Toradora does nothing like this. Taiga does have a weird hairstyle, but Minori isn’t memorable at all. She has huge eyes and short red hair. End description. Worse offender is Ami who is meant to be the sex symbol. To express this, they gave her a longer hair and slightly bigger breasts. Unlike shows where the characters are actually sexy, her figure isn’t defined or emphasized – which is necessary if the character’s beauty is important to her personality. Her hair is just long without hairstyle quirks. Look at any anime that has a character whose beauty is important and you can always spot details expressing it – just as I described Sena in the above paragraph. The designers decided to do the bare minimum.

vlcsnap-2017-05-13-18h50m18s126

Character designs are integral to how we view them. How people look is a part of them. It doesn’t mean characters should all be sexy (that’s actually quite odd) but their looks should somehow find their way to their personality. If your character is meant to be beautiful, make them beautiful. Toradora is satisfied with just sending the signals, mistaking low effort for minimalism. Minimalism is when you have few details but these details are important. Ami’s design and everyone else’s has no effort put into it. A simplicity that has no elegance, that emphasizes no details is just a product of no effort and laziness.

Maybe the anime drastically improves. I have a hard time believing it. Watching this anime became painful. Witnessing the abuse Taiga inflicts on everyone, and expecting to be entertained and amused by it is too much. Torture porn at least acknowledges its characters suffer even if it expects me to find entertainment in pain. This anime pretends physical abuse doesn’t cause any pain. Truly, it’s objectionable almost on a moral standard.

1 abusive partners out of 5

Lord Dunsany – The King of Elfland’s Daughter

kingofelf
Dunsany makes it seem so easy. When people think of fantasy, they think of bricks full of descriptions and histories of non-existent worlds. I hear often how people don’t read fantasy because they don’t want a life commitment, because it’s more like studying the history of something rather than actual stories. If Robert Jordan and George R. R. Martin are anything to go by, they have point.

What’s bizarre is why these type of literature is so popular and so often written. In 1924 Dunsany wrote a simple novel. In terms of difficulty, the only thing difficult about it is that sentences can be long and the language is slightly archaic. Compared to more modern fiction though, the prose flows more smoothly. The story is about a person who seeks out a magical bride and gets astonished by the Huge World Outside. Wikipedia sums up the story in one paragraph and it’s okay. Why didn’t more authors replicate this?

That’s because artists don’t just try to sell a product. They sell importance. Importance in art is important. Rappers keep those crappy Boom Bap beats because it’s important and real, and so people who hate music will keep listening to them. Tolkien’s overlong saga was important, and so every Fantasy author wants to be seen as important and pile on the words. Writing a book like Dunsany’s may be easier, but it doesn’t look as important. Too bad that importance has little to do with musical quality. Manic Street Preachers aren’t as famous as David Bowie, but “Stay Beautiful” is better than anything on Ziggy Stardust.

Writing and storytelling devices serve the themes, not the opposite. Dunsany writes simply because that’s the best way to express his ideas. This novel isn’t fantasy just because the world is invented. ‘Fantasy’ is the theme of this novel. For a generation that explored all physical frontiers, it’s quaint but the sense of wonder Dunsany explores can apply to anything life.

The King of Elfland’s Daughter is about seeing something so majestic, so beautiful that we become obsessed. It’s something that we also can never capture. We will continue searching for it and never find it. It’s not just Elfland. Alveric gets party members, each with his own obsession. We’re all mad when the right thing strikes us. No one is exempt from this. Even the people of Elfland, once they see Earth become obsessed with it. Everything is a place of wonder if you look at it from a distance. The constant usage of the phrase “Fields we know” emphasizes this. These fields look ordinary to us only because we know them, and the narrator has our point of view. For Lirazel, Earth is just as wondrous.

The price of such beauty is no satisfaction. You’re either yearning for it, or don’t fit in. Alveric constantly searches. When Lirazel can be in Earth, which is wondrous for her, she can’t find her place and never feels at home. Man is torn by his lust for wonder and his need for a stable home. Notice how Alveric carries a tent on his journey – even while traveling he needs something resembling a home.

Some do try to settle down. Another way to react to these wonders is fear. Alveric’s party have their obsession, but theirs isn’t as concrete as Elfland. When they see what real wonder looks like, they want to back away to their normal lives. Alveric himself despairs a little – that’s another price of seeing wonder. Back in the village we see that settling down doesn’t work. If we don’t go seeking the world, then it’ll just finds its way to us. You can be obsessed with it on your territory or not, but you’ll react to it. Even denying it is a reaction.

All these paragraphs of analysis – and I’m sure others can go something more in-depth – for such a simple book. That’s because Dunsany’s theme come before style and story. There are no digressions, no meaningless paragraphs of exposition. A chapter involving a man with a dark coat may at first seem like a digression, but even without the revelation it’s an exploration of Dunsany’s idea. In that chapter, magical creatures themselves aren’t infallible. They can get obsessed with something and follow it to things unknown.

Dunsany’s world isn’t physical, but is aware of ‘idea space’. His descriptions are always what it feels like, rather than what actually is. Worlds in fiction never exist. Telling me how tall a spire is, doesn’t actually tell me anything. So what? When Dunsany describes palace as “can only be told of in song”, it creates an image more mythic than any other physical description. If Dunsany’s book is difficult, it’s because of how expressive his language is. Nothing is described in direct physical traits, but every description is dripping with expression and poetics. Repetition never dulls the power of these words, because “fields we know” says more about them than anything else could.

He’s one of the few authors who can go off on long descriptions. Sometimes, his descriptions drip with so much wonder and awe that it speaks for itself. He describes flowers, in the same sentence, both as ‘unwithering’ and that time never touches them. Such repetition is redundant, but in the contexts it makes sense. Elfland is so wonderous that you have to traits in it using different ways, and you still wouldn’t capture it.

The result of such expressive and non-physical language is that Elfland and the Fields We Know feel actually feel real. We don’t experience the world in numbers. The Earth may move around the sun quite fast, but we don’t feel this speed. Fiction is never about displaying facts but about the human condition, since it is, after all, products of human thought. By tapping into how things feel like rather than how they actually are, Dunsany writes like how human beings experience the world.

The book’s only flaw, which must be deliberate, is that its characters can be fairly shallow. They’re clear archetypes, symbols that exist to explore ideas rather than complex human beings. It doesn’t detract too much, since the story is simple and demands such simple characters. Still, it would be nice if Dunsany dedicated a few more paragraphs to how his characters experience the world in their unique ways. He shows us their obsessions, but not how they deal with other things in the world. The book may explore its main topic quite well, but its lack of psychology and other subjects makes its vision too narrow. Great works of fiction have their main topics, but they also tend to dispense some unrelated views. Dunsany already shows great skill, so it makes you wonder what else he has to say.

The small flaws prevent this from being an all-time great book, but everything else makes this a cornerstone of the Fantasy genre. This is the book we should namedrop constantly when we discuss Fantastical fiction. Dunsany’s prose isn’t just beautiful, but his method of ‘worldbuilding’ is more engrossing and meaningful than other famous authors. Beyond the symbolic layer, it’s also a cute romance about two lovers who can’t let the kind-of-dimensional distance between their worlds separate them. Both as a love story and an exploration of human obsession, it’s a great book.

4.5 fields we know out of 5

Carly Rae Jepsen – Kiss

carly.png
Sometimes I wonder if my dislike for a lot of Pop singers is because of misogyny. Nowadays female singers aren’t docile like they used be. They’re aggressive, can rap, can have a guitar here and there and not shamed of having a lot of sex or of telling someone to fuck off. My manhood is threatened, and thus I cannot enjoy when Lady GaGa tells me about how everything is beautiful and that we should all just be ourselves (That’s because we all have the privilege of being skinny, right?). I can’t stand Rihanna because a sexually assertive woman offends me. Submission is a turn-on, and without it I’m nothing.

Or maybe not. My favorite Pop singers include Lana Del Rey, Tove Lo and Melanie Martinez which are all concept-heavy. As for aggression, I also admire Emilie Autumn who directly attacked her sexual abusers. The problem with the singers in the first paragraph isn’t that they were ‘assertive’. In fact, no one should be scared of Rihanna. She’s so conformist that Chris Brown beating here wasn’t the big deal. The problem with these singers is that they didn’t sell you an image or a concept, but themselves.

Compare Taylor Swift’s “22” – which I actually like – to any song here. Taylor uses the song as a vehicle to inform the listener who utterly cool and fucking awesome she is. It’s about her, not about having fun. She has a lot of exes, she has breakfasts at midnight unlike these lame ‘cool kids’ and they dream instead of sleep. The songs’ music videos even confirm it. In “Good Time”, Carly and Adam Young are surrounded by people who actually look different and don’t seem to be doing anything but having fun. Everyone in Taylor’s video looks perfect and skinny. It’s a song about contrasts, not about partying.

When everyone got taken away by EMOTION – and by ‘everyone’ I mean ‘music nerds’ – the shock was hearing a Pop singer who really didn’t care about seeming cool. She did way before “I Really Like You”. From a distance, this and “Call Me Maybe” sound like an artist with one gimmick that milks it. Listen to a whole album, and it’s a modus operandi. If Carly can’t deviate, it’s because she’s having too much fun, doesn’t need and want to and invites you to join in.

Adam Young asides, who everyone seems to hate, “Good Time” is such an inviting song. “Call Me Maybe” may have generated the shitty parodies but that song tells you more about who Carly is. Most of the songs here work in the same sphere only with slightly weaker drums. All the songs are about the excitement of first love and first crush, about a possible future that may happen and if it does it’ll be awesome. It’s not exactly optimistic. Rather, Carly captures that tiny moment of happiness when you’re sure someone really likes you or may like you, and you’re kind of emberassed and unsure but enjoy it all the same. Song titles like “This Kiss”, “Curiosity”, “Tiny Little Bows” and “Call Me Maybe” all display this range of emotions. Merge these topics with dance tracks and you have great party music that’s happy, not tough. People who don’t jump to “Tiny Little Bows” look like they’re trying too hard to reach the Idea of Coolness.

Carly’s performance is also perfect. Another problem of contemporary Pop singers is how much they love show us their voice. Often, the songs aren’t meant to be enjoyed. Even the performance isn’t meant to be enjoyed. Rather, we’re supposed to be impressed, stand aside and admire all the vocal acrobatics. Adele epitomizes it and Sia is the biggest offender. Imagine if Sia sang these songs. Will “Turn Me Up” sound so cute and confused if Sia howled? Would it even be about confusion, instead of about how awesome Sia is? Carly sings so low and calm. She rarely stretches her voice, trusting instead her character shine through her voice. It also makes the song more listener-friendly, making it sound like anyone can sing them.

At times she does stretch her voice for something more profound, but it’s so rare it leads to a weird effect. On “More Than a Memory”, she stretches her voice just a little to suit the song’s more somber mood, and it makes her seem vulnerable and worried. Since she doesn’t stretch it often, she shows us that this moment is more important than others – the relationship might die! She also loses the tune a bit on “Guitar String/Wedding Ring”, and the result is ridiculously cute. The song’s lyrics are a bit nonsense, but they, along with the sparkling, noisy production and Carly’s messy voice expresses the excitement and thrill of love all the more effectively. Music is, after all, acting. I’m sure many can sing that song better technically, but I doubt if anyone can convince me like Carly does.

Only one song does stick out where she sounds closer to her contemporaries. That’s “Tonight I’m Getting Over You” which includes an actual bass drop. The noises this time are aggressive instead of sparkling and Carly tries to reach to the top of her voice. It’s also a total success because it focuses on this idea, instead of using these tools as a modus operandi. It’s not another generic club banger but a singer who’s full of pain and needs to let it with singing and loud beats. What’s beautiful is that once the chorus hits, she still sounds vulnerable and hurt. The cries of “getting over you!” aren’t triumphant, but sound like she’s trying to convince herself by constantly repeating it. Many said that “Chandelier” by Sia mixed the whole party-and-depression thing well, but that song, like anything else by her, is about how Sia awesome is. Carly outdid everyone else.

It’s interesting how clean this album is. In a world where singers like Rihanna use misogyny and objectification of women to seem powerful – because being approved by wifebeaters like Chris Brown means you’re strong? – it’s refreshing to hear someone who doesn’t need to go on and on about it. Carly is sexy in her way. She’s not afraid of it, she’s just more concerned with love and having fun. “Good Time” works because, unlike other party songs it’s for everyone – not just people who happen to be sexy. Her excitement in “Tiny Little Bows” is way sexier than anything by Rihanna. Carly was actually older than most singers when she recorded this and many called this ‘immature for her age’, but is it really?

Today Kiss sounds more like a prelude to the brilliant EMOTION, and it’s not as all-encompassing as that albums. Still, what it does it does brilliantly. “Call Me Maybe” is actually buried in a sea of highlight, and there’s a consistent mood that shows Carly always believed that Pop is an album genre. Even the acoustic ballad “Beautiful” doesn’t let down the pace. 12 joyous Pop songs about excitement and love that invites everyone are too much to become viral in this age of irony, but really, if you dislike this you may be trying too hard to seem tough.

3.5 kisses out of 5

Laura Weiss – Leftovers

leftovers
This book is angry. Weiss fires off a lot of bullets from a variety of weapons to plenty of targets. Often, the targets contradict each other. Both strict parenting and loose parenting are getting the blowtorch. The education system is mocked in its treatment of violence. Hot popular guys and ugly lonely creeps get the crosshairs. It’s like a literary equivalent of a Slipknot song. Perhaps when parents complain that teens don’t read enough, they should realize what’s their favorite music and act accordingly.

Then again, anger in music and anger in literature are two different things. Music can be senselessly angry. Music isn’t intellectually stimulating. It’s not a presentation of ideas, arguments, conclusions and proof. Music works as emotional release. Slipknot tell you more about what being angry feels like. Literature is an intellectual experience, not sensory. A lot of anger may be affecting, but it can lead to a shallow work. Weiss’ book isn’t completely shallow. It does more good than bad, contains more shades of grey than black’n’white, yet her failure tells us exactly what’s good and what’s bad about anger.

Anger is a good thing. We know when we’re angry that something is wrong, like how the pain from a wound tells us it exists. Anger also drives us to act. It stimulates and awakens your body. I doubt many changes in the world would’ve happened if it wasn’t for anger. So it’s a great thing Weiss is angry and such anger can drive young people to things. It sure did cause Weiss’ heroes to act. Anger also makes us lose empathy for others, though. While Weiss is aware of it, she’s just as guilty.

Something about anger narrows our focus. Depression can connect people or put a wall between them, but anger gets people hostile. Either you’re angry with someone about the same problem, or you’re against them. As an author, you must not fall to this lack of empathy. You created these characters, gave them personalities, backstories, wants and ordered them how to act. If you never bother to understand why they are the way they are, you set up strawman. It’s worse than that, since how can we solve a moral problem if we don’t understand why people do it?

‘Empathy’ doesn’t equal ‘justification’. You can understand why someone does what they do without agreeing. It means you can imagine yourself doing it. That’s why villains that we understand are more horrifying than those we don’t. I can understand why Ian Watkins committed his crimes. I can understand why, in such a position of power with charisma and a busy life I may push my sexuality towards these places. By understanding this, I can also avoid commiting his crimes if I am in a similar situation.

All of Weiss targets lean closer to comically evil than deep portraits. The topics she address are relevant and varied, but all we can understand is why someone would be angry at that. Blair’s mother is a neatfreak who cares so much about appearances she neglects everything else. Weiss tries not to make her too evil, but she lacks a moment of vulnerability, a moment that shows her us reasonable. Sometimes Weiss gets too close to making her sociopathic. She constantly ignores her daughter’s feelings with some hints that she deosn’t mind if Blair has horrible sex with douchebags if it advances her career. Now, if she was supposed to be a ridiculous career freak then fine. Weiss can’t get enough into her character to either make us understand why they’re extreme, or show us their other side.

The hostile world here is also one-dimensional. Often authors who portray a hostile world fail because of a self-centered view. They show how the world is hostile to their characters, but not much how others are a victim to it. It’s important since if your idea is that the world is a cold, unwelcoming place – which is true – then it’s like this for everyone. The situations in Leftovers are mostly us-against-the-world cases. Shy, socially inept guys are rarely present. Ardith’s parents are just alcoholics. The only pain we see is the main character’s, and that’s not a good excuse. Other characters have plenty of lines.

Where the pessimistic worldview does win Weiss victories is in her main character. Oddly, the flaws in the book are the exact flaws the two heroines suffer from. Their flaws were deliberate, too. The big, tell-everything prose says so. The same lack of empathy that made Weiss to write weak antagonists is also the downfall of the heroines. It’s also the best part of the book, the moment where she truly shocks the audience. In truth, the Ardith and Blair don’t commit a crime but only nudge pieces to take revenge. Nevertheless, they used someone’s pain for their own gratification and it’s not glossed over. It’s the one instance of hostility that we can understand, and that makes it more powerful than any description about how Ardith’s brother is an asshole.

The writing is precise, catchy and expressive. It’s also not subtle, which leave you feeling empty at the end. Most of the events don’t have much meaning but build up to the great sin. Still, the climax is powerful enough. Why shower it with explanations? It shows how difficult it is to do a confessional style right. Even when writing in a confessional style, it’s not just what’s being written that’s important. Holden isn’t defined by what he says, but also what he lingers on. The writing doesn’t give any new insight and Weiss doesn’t try. She has some skill, but it’s more like a hardcore band who breaks for a beautiful chorus of 30 seconds at the end of a show. The problem is Weiss doesn’t believe enough in her skill to write without explaining.

Still, it’s a decent book more concerned with exploring teenagers and their messy life, rather than offering a comfortable fantasy. It’s neither propaganda about how the world is actually beautiful nor how teenagers are misunderstood heroes. Perhaps Weiss has a great YA novel in her, because Leftovers shows she can capable of complex thought. It just shows she can do it, not that she does it.

2.5 leftovers out of 5

Ed Sheeran – Divide

ed-sheeran-divide-album-cover-2017-march-1484221917
Reviewing an Ed Sheeran album only takes two sentences. Any song where isn’t trying to lure a girl to sex disguised as a romance is excellent. Any song where he pretends to feel deep, serious emotions is obviously bad. Of course, two sentences isn’t a review and there’s more going on here. Ed Sheeran is a star and his love songs are especially popular, so we need to figure out how exactly this crap works and why cheesyy love songs are still pumping out when he should be putting a backwards baseball cap and collaborate with Eminem.

I said this a thousand times before and it dawned me. It’s hypocritical to claim Ed Sheeran comes off like an asshole, even a dangerous one when Lostprophets is one of my favorite. These guys are a classic case of music as acting, when the front is completely different than the real person. Solution to this conflict is easy. Fist off, acting is all that’s important when judging music. Ed Sheeran can be a fantastic person for all I know, but I review his character here. Second, Watkins never broke character. Sheeran does.

“Shape of You” is the most interesting song here since it merges Sheeran’s two sides, and reveals all I said about him. He courts a lady with soft, sensual singing and sounds romantic. Yet listen to the chorus. It’s all about the girl’s body. Imagine if the song was sung by a heroin junkie homeless in the street or an overly obese dude with glasses and anime dakimakuras. The song is quite creepy in how it goes on and on about how Sheeran desires a body and not the person.

There have been countless songs about sex, but the key is that they sound authentic. When 50 Cent made “Candy Shop”, it was all about having fun sex. He never tried to sound romantic – only more into sex as having fun instead of status symbol. “Shape of You” has a fantastic melody, but it’s equivalent of a hot guy going on a date with a girl and only telling her how beautiful she is. Something about its bluntness and how Sheeran still sings romantically makes him sound like a person trying to lure girls desperate for romance to easy sex.

Everything else here is easy to digest. There are the ballads, and they’re all quite bad. Sheeran can’t seemt to find a bit of vulnerability in him. Every ballad is sung with confidence. A slightly low voice doesn’t equal vulnerability, especially when “Dive” and “Perfect” explodes into choruses. The latter actually has a decent melody that would be good in the hands of a different singer. He can’t even fake sincerity like Coldplay.

It’s too clean. When he sings that hearts don’t break around here, it’s more believable – only it must be Sheeran’s heart since women come back to him anyway (See “New Man”). It’s hard to pinpoint exactly what is it about him that makes his ballads sucks so much. Wisely, he doesn’t do any vocal acrobatics like Adele and his voice is quite beautiful. In style, he’s closer to the Weeknd, who is the model when you want to be both a sex icon and a mess. I guess it’s because Weeknd always lets darkness in, even when he brags. “Perfect” never touches on the possibility of heartbreak. It’s music for the end credits of a bad romantic comedy, as if once a romance starts it never ends and the story’s over.

Previously, he could sound more sincere (if unimaginative) when talking about things other than love and how awesome he is. “Happier” should be his moment to show heartbreak. The guitar strums in a defeated way, not trying to produce a melody and it aims for the warmth of an early Dashboard Confessional. Everything is hushed, the singing is lower and the piano is pushed back. Yet it doesn’t work. You can still see the stage behind him. Where is the bitterness of heartbreak he is so good at showing at “New Man”? The falsetto at the end is a joke, a gorilla beating on its chest, sounding more macho and confident than a Groove Metal band who are hell-bent on beating Pantera.

Then again, even with better acting these songs will most likely suck. They don’t contain a melody, but all lead to an explosion, like Coldplay that’s more readily available to stadiums. It’s not the source of the bad acting since it was present in his earlier songs. When he gets personal, the only reaction to it is ‘why the fuck should I care?’. Many artists wrote songs like “Eraser” (quite good) and “Castle on the Hill” (awful), but none of them sounded so self-centered as he is. Why should anyone of us care about Sheeran’s life, considering he made so much money singing pretty ballads?

‘Privilege’ is a word I didn’t want to use. After all, a lot of my favorite rappers are white dudes whose albums are psychotherapies with the listener. Grieves and Atmosphere come off as humble, sharing their stories with the listener with hopes of relating. “Eraser” has a toughness in it, Sheeran trying to convince us he’s tough because he survives the pain of being famous. Considering on later songs he brags about fucking – and sounds happy about it – I’d say it’s another attempt to impress us. The song is good, though. As for “Castle on the Hill”, it has the same idea as Adema’s “All These Years” without the darkness. Nostalgia is a painful thing. I know that since I spent 3 years in a military home and seeing a distance growing between me and my old self, me and my friends and all I’ve known is quite hard. “Castle on the Hill” paints it like it’s all happy and nice, taking a trip down memory lane. Don’t say ‘privilege’, don’t say ‘privilege’.

So it’s all crap so long as Ed serious. Smack in the middle of the album you get “New Man” and “Galway Girl”, two brilliant songs that will easily rank as among the best of the year. Switching up his demeanor, now he’s a playboy who fucks women and women call him up – despite having boyfriends – to fuck. It’s believable for once, actually has spirits and Sheeran is into it. The latter is about picking up a girl at the club but there’s none of the creepiness of the lead single. Instead, it’s just about how she fell in love and they had sex. The former is a bitter break-up song about how the ex-lover’s new man isn’t that good. The confidence, the venom in that song is fantastic. It’s not a rant or a plea for the lover to return. Condescension is the dominant emotion, with Sheeran sneering all the way to next  one night stand. It’s not a song to sing to convince yourself you’re over the break up, but to celebrate how you moved on. No coincidence that both of these are Hip-Hop driven.

Nothing here is too different than previous albums by him. His sound is expanding a bit and there is more than acoustic balladry now, but overall the man remains the same. He cannot break free of being a performer, he cannot get into the act. The difference between him and the horrible Watkins is that Watkins remained in character. Having “New Man” and “Happier” in the same album is jarring, since they’re opposites but there’s nothing to connect them. Eventually, one side takes over and the most convincing one is the braggadio and macho bullshit. It’s funny how that song take shots an ultramacho new boyfriend, because that’s exactly how Sheeran sounds like. I have no problem with that, since “New Man” is actually brillaint. I only wish he would let go already. “Galway Girl” has more spirit than any song here.

2 new men out of 5