The House Next Door

Posts Tagged: The White Stripes

Links for the Day: The White Stripes Call It Quits, SXSW Lineup, Woody Opens Cannes, O'Reilly Is Tidal Bore, Zach Wahls Makes Iowa Proud, & More

The White Stripes

Ugh. One of my favorite bands has called it quits.

SXSW finally has a lineup.

Richard Brody reviews Chameleon Street and ponders what happened to its maker, Wendell B. Harris Jr.

Yawn. Woody Allen's Midnight in Paris will open the Cannes Film Festival.

Matt Zoller Seitz bemoans the sad decline of Human Target.

According to Manohla Dargis, Sundance is as urgent as ever.

Karina Longwoth on the state of the art house.

Charles Taylor knows movies, but he also knows music and books. For The Nation: a little ballad on John Lennon and J.D. Salinger.

Bill O'Reilly is a tidal bore.

Zach Wahls, a 19-year-old University of Iowa student spoke about the strength of his family during a public forum on House Joint Resolution 6 in the Iowa House of Representatives. Wahls has two mothers, and came to oppose House Joint Resolution 6 which would end civil unions in Iowa (his eloquence, alas, didn't fully work on those intended):

Links for the Day: A collection of links to items that we hope will spark discussion. We encourage our readers to submit candidates for consideration to ed@slantmagazine.com and to converse in the comments section.




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The White Stripes's Under Great White Northern Lights

Under Great White Northern LightsLast year's It Might Get Loud portrayed White Stripes frontman Jack White as a man (touchingly) concerned with stripping his music of artifice, with avoiding the privileges that success affords in the pursuit of music that's primal, pure, and unfettered by self-consciousness. The irony, of course, is that few musicians seem to be more self-conscious than Jack White; he's self-conscious of his self-consciousness. Trying to let go, to will spontaneity through unspontaneously manufactured obstacles (such as deliberately inconvenient instrument positioning on stage), White probably boxes himself in about as much as if he were comfortably produced, but that yearning for truth, which strikes one as legit, can be felt in his music, which, at its best, is vital, intense, personal. White, like many artists of all stripes of his thirtysomething generation suspects that he's lacked the hardship to produce the kind of art that's inspired him (particularly blues), and it's that doubt that gives White the spiritual friction he seeks.

The White Stripes concert movie Under Great White Northern Lights is almost entirely conceived around White's insecurities: The picture follows the band as they tour every province and territory of Canada as part of a larger tour a few years ago. White seems to see Canada—"a neighbor"—as one of those great natural lands of little towns overlooked by big corporate logo-sporting franchise concerts, and he revels in the intimate shows, as well as in the considerably even more intimate "side-shows," which are usually put together an hour or so beforehand and are attended by whoever happens to have their ear to the grapevine. White, though he never explicitly voices it, is clearly concerned with the effect of the web on rock n' roll—with the effects that iTunes, IM, email, and blogs have wrought on the communal nature of browsing through record stores and listening to local bands at coffeehouses and bars. Continue Reading »




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Rest of the Best of the Aughts: Albums & Singles (#101 – 250)

Best of the Rest of the Aughts

Due to semi-popular demand, we've decided to post #101—250 of both our Best of the Aughts: Albums and Best of the Aughts: Singles lists. Part of the reason we originally decided to publish lists of 100 is because, aside from the obvious quantity of writing required, the lower down on the list you got, the less consensus there was on a particular title; in fact, outside the Top 150 singles, there were only a handful of songs that were voted for by more than one contributor. That, of course, made for a bunch of unique and/or unheralded selections mixed in with more popularly cited titles Continue Reading »




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Best of the Aughts: A Single Take, #50 – #41

[Click here to read the previous installment of this feature.]

50. Daft Punk, "Harder Better Faster Stronger" (Discovery, 2001)
Indie kids learn to dance blah blah blah. If I'd ever foreseen that Daft Punk's totally euphoric Discovery would ever be drafted into some kind of stupid trajectory about how the head-nod, arms-crossed, irony-laden crowd of the early '00s learned to dance and embrace pure joy and YOUTH VITALITY LOVE SEX, I probably never would've listened to it. I don't know when this became true, but at some point dancing became an ideological issue for a certain kind of under-30 cohort, the idea being that anyone who says they don't like to dance is either lying or afraid to embrace their true visceral impulses. You can like dance music without wanting to dance, and I don't care what Lady Gaga has to say on the subject. As the Rev. Jesse Jackson once said when speaking at my high school, "Some Negroes ain't got no rhythm." Let me substitute the most obviously contentious word in there: Some of us can't dance, and we'd appreciate it if you stopped telling us to stop being embarrassed and just be joyous. Also, on Halloween we don't feel like making costumes. Can we enjoy our drinks in peace now?

Anyway. Discovery is a pretty much universally beloved album for anyone who's heard it; this song is generally a consensus highlight, and I love it very much. There's very little I can do to describe its sonic qualities freshly: There's AutoTune distortion years before it was cool (everyone assumed it was vocoder, including me), and super-badass synth breakdowns, and it's all unstoppably propulsive. So I'll just explain how it works on me. For some reason, my freshman year of college I was saddled with a miserable crew of randomly assigned roommates: The psychopath who eventually tore a door off its hinges and was banned from housing, the stoners who stayed up 'til 5 am on shrooms and talked about the intelligence of dolphins, the rabidly Jewish guy who berated me for not being Jewish enough and practiced banjo in the small room's confines to play along with his favorite jam-band/Oasis riffs and giggled at his own farts. (A banjo, for those of you who've never gotten up close, is absurdly loud.) In the middle of this, I got into one of those ill-advised attempted bonding sessions, and somehow I put Discovery on and the usual idiot grin I get listening to it beamed across my face. "I've never seen you so happy," said one of the roomies, which is tribute to a) how oblivious they were to the misery they were inflicting on me and b) the power of the album to inflict joy on you when you're in the middle of an atrocious year. All I have to do is head-nod and grin; the other kids can dance. Continue Reading »




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