Black Mountain — “Old Fangs”

Is it still cool to like Black Moun­tain? I strayed on their last album, but I’m will­ing to come back to the fold if it sounds like this, although I’m not hear­ing the OMG Black Sab­bath freak­out peo­ple have sug­gest­ed else­where. I think I like the Two Lane Black­top vibe of their new video, though. Maybe the ’70s revival isn’t dead yet?

(I hon­est­ly don’t know any­thing about the new album as I fell off the Jagjaguwar/Secretly Canadian/Dead Oceans pro­mo list some­where along the line and nev­er reme­died that oversight.)

Absorbing “Treme”

It’s way too late on a school night for me to real­ly dig into every­thing I thought about while watch­ing David Simon’s lat­est opus, “Treme,” on HBO. What I have been col­lect­ing, how­ev­er, are oth­er peo­ples’ feel­ings about the show and I am pos­i­tive­ly fas­ci­nat­ed by the response.

I’ll start with the obvi­ous. Lots of peo­ple hat­ed the show! For all sorts of rea­sons! Some of them deserved, some not so much! I’m sym­pa­thet­ic; I enjoyed ‘The Wire’ plen­ty, but only after my wife con­vinced me of its bril­liance and even then I har­bored some angst about the cult of David Simon. He’s arro­gant! Read this great post-mortem with the essen­tial Alan Sepin­wall and you’ll see what I mean.

There are more glib, enter­tain­ing respons­es to the show. I loved the Awl’s shout­ing match. It embod­ies my inter­nal dia­logue — yes, dia­logue — on the show almost too per­fect­ly to admit.

I adored David Raposa’s plea to recon­sid­er trou­bled aca­d­e­m­ic Creighton Bur­nette, even if I nev­er espe­cial­ly cared for his char­ac­ter, par­tic­u­lar­ly because, as a recov­er­ing aca­d­e­m­ic who labored in the lan­guage arts, I can under­stand his pas­sion for oth­ers to share his view, to see the city as he does, to expe­ri­ence it in the rich body of work that has been pro­duced in and about New Orleans.

The only con­clu­sion I can safe­ly draw from all of this is that I need to watch the entire series again, as soon as pos­si­ble, prob­a­bly between episodes of “Mad Men” and “Dead­liest Catch” or what­ev­er you watch in the sum­mer months that isn’t Step Broth­ers on on demand.

(It goes with­out say­ing that I’m one of those peo­ple who LUUURRVEES THE MUSICCCCCC. I lis­ten to it often via the Songs from Treme Tum­blr, which I run through trnt­bl here.)

Crazy Heart

What an affect­ing film. Worth watch­ing twice, trust me. It has an inter­est­ing back­sto­ry, too. Orig­i­nal­ly intend­ed for a direct-to-video release, before Fox Search­light gave it a shot at the­atri­cal release. Hard to believe a movie with Jeff Bridges, Mag­gie Gyl­len­haal, Col­in Far­rell, and Robert Duvall would go direct-to-video. It’s the stuff the movie busi­ness eats up! It’s a music biopic! Remem­ber Walk the Line and Ray?

Bet­ter than either of those movies, Crazy Heart does­n’t bite off more than it can chew. We don’t get Bad Blake’s life sto­ry; rather, we see him in his twi­light years, fall down drunk and at the end of his rope. His songs are proof that he once had a career worth talk­ing about. He’s Hag­gard and Jen­nings and Kristof­fer­son and it’s amaz­ing to watch unrav­el. Shame that Bridges won the Oscar for a com­pos­ite char­ac­ter, but he chan­nels the Out­law ethos so perfectly.

The music’s not half bad either, and I have his­tor­i­cal­ly hat­ed any­thing T‑Bone Bur­nett touches.

The Hurt Locker

Won­dered if it was pos­si­ble for any­one to actu­al­ly make a film that cap­tures the soul-crush­ing hope­less­ness of war with­out deliv­er­ing a ham­fist­ed mes­sage that turns peo­ple off. The Hurt Lock­er did that for me. Grant­ed, it has­n’t changed the fact that we’re still heav­i­ly engaged in both Iraq and Afghanistan, despite elect­ing a Pres­i­dent who promised to change all that.

Work hard­er, Obama.