Tuesday, June 26, 2007

Dinner parties totally rule.

In the past couple weeks, we’ve finally gotten around to having some at John’s pimpin’ pad on soi 33, and they have been good (not quite as healthy and jiving as the infamous Juice Party Yeen and I had a couple weeks ago, which entailed swimming, too, but still one heck of a groovy time). The company has consistently been (all 2 times) Pim, Yuka, Taeko, John and myself. The first time, Pim’s dog Power came too. And peed on the floor, thank you very much.

This time around, John was lazy and so all he made for HIS OWN dinner party was fruit salad (HORRAY for Home Ec class), which was good, but he left the other dishes to his guests. Luckily, that was fine as Pim brought some fried rice and gyoza, while I brought some salads. But the real stars were the Japanese ladies.
Taeko made unrolled sushi, which consisted of fluffy white rice, sliced Japanese omelet, seaweed, and some other little assorted goodies inside. It was delicious-o, even if she said her mom would be ashamed of the rice’s light consistency (the Japanese are a bit more fastidious about their rice than Westerners, I think). Yuka made a simple yet fabulous rocket salad with smoked salmon. But here’s the thing—the dressing was AWESOME. Here’s a little before and after, action/reaction shots, which I think say it all.







Afterwards, we went to Ad Makers, which rocked, then dipped into Fallabella, which was too expensive, then went to Nana.


Around 3:30am, Yuka, Taeko and I wound up at Foodland on soi 5 getting some grub. Next to me, some guy sat down and almost immediately started complaining to the cook, “I don’t like this salad… It’s uh… I don’t like this salad.”
He should have joined us about 7 hours earlier.

Check here for the Japanese version of this wonderful little tale, probably in much more concise format: taeko's blog.

Thanks to Taeko for the pics!

Wednesday, June 06, 2007



BLONDE REDHEAD
23


The number 23 has an occult reputation as representing change, chaos and disintegration, probably gained from its hexagram in the I Ching epitomizing disorder. Appropriately, this is the title taken by New York art rockers Blonde Redhead for their seventh album, which marks a shift by the band to a higher profile, more approachable sound that will probably result in more sales and new fans. The album itself was initially self produced, but the band supposedly lost sight of whatever demons they were channeling and they brought in the big guns midway through in the form of U2 wizard Alan Moulder, who bewitches the album with trickery fans of his prior works will be pleased with. 23 is a fantastic mix of murky, Depeche Mode-type electronic elements and phased, far off guitars that make Blonde Redhead sound like a gorgeous, updated shoegazer act. The title track opens the album with My Bloody Valentine string work and thunderous drums that roll in the distance while Kazu Makino’s vocals shift like rain drenched ghosts in the foreground. “The Dress” sounds vaguely like a Wire track with an odd, mechanical melody and rattling pianos that somehow disquiet and comfort at the same time. “The Publisher” is a moody and melancholy rant against misunderstanding (or is it misrepresentation?) with a chorus that deserves to rock stadiums. Lush, dark and magical, 23 has a rare style and sound that begs the listener to consent just a little to allow the full extent of its rapture to begin.





FEIST
The Reminder


Leslie Feist may not as yet be a household name, but she’s definitely paid her dues in the music industry, and it shows on The Reminder. Having made her entrance playing guitar for indie rockers By Divine Right, she released a debut solo album in 1999 to limited acclaim. She later honed her craft playing with Broken Social Scene and got her stage persona in check touring Europe with her roommate, electro raunch artist, Peaches. All this prepared her for her more mature solo efforts, including a praised second album, Let It Die in 2004, and this, her third work.

Produced by Canadian keyboard player Jason Charles Beck, better known as Gonzales, The Reminder is a solid collection of freak folk, melancholy ballads and thoughtful songs of loss that prove unpretentious and astute. She possesses a quiet power in her tender voice somewhat reminiscent of Sarah McLachlan. Though some of the ballads can drag a bit, “The Water” has a smoky mystery that sounds like it’s emanating from a piano in the shadowy corner of a 1930s speakeasy. The more upbeat folk rock numbers, like “Past in Present” have a flint-edged honesty that’s hard not to like. In “My Moon My Man” she betrays a road weariness, breathing cryptic phrases like, “My moon and me / Not as good as we’ve been / it’s the dirtiest clean I know” in a silky voice, sexy as hell. A memorable release from an artist to watch.





Tuesday, June 05, 2007

pen-ek_doyle.jpg


Pen-ek Ratanarueng is without a doubt one of the brightest Thai filmmakers today. He was born and raised in Bangkok, then lived in New York 1977-85 studying at the Pratt Institute before returning to Thailand. After working as an art director for several years, he made his debut film, Fun Bar Karaoke in 1997. He gained critical international acclaim for his film Last Life in the Universe (though the Thai press virtually ignored him up until this point) in 2003 where he teamed up with Japanese cult star Tadanobu Asano and Aussie cinematographer Christopher Doyle (pictured). He worked with them again on Invisible Waves in 2006. His newest release, Ploy was one of only three Thai films screened at Cannes in 2007. This interview was done a few months ago, during the release of his short documentary Total Bangkok, which focuses on the Bangkok street football scene.


How did the project Total Bangkok happen?
A friend of mine who has been doing documentary for the past few years got to know someone from Nike Thailand on a trip abroad. They got to talk about doing a documentary about football culture in Thailand. I don’t know what my friend actually said to her but that person from Nike thought it was a good idea. So my friend emailed and asked if I was interested in doing it. I said yes immediately, even without knowing what I was going to do it or if I had the time or the ability to do it. And that friend of mine became the producer of the project.

Are you a big football fan?
I used to be when I was very young. From around 8 until I became interested in the arts around 20-years-old. Now I’m more interested in filmmaking, but football has always remained my first real love. You could say it’s an old flame that has never completely diminished. I still play whenever I can and still have to stay home the nights Arsenal play. I’m not the football nut I used to be, but I still love it.

How did making this documentary differ from making a fiction film?
Making documentary is much freer and much more spontaneous but also scarier because you don’t know if you are going to get anything worthwhile or not. You can’t plan for things to happen. You just have to wait and respond to whatever happens. I had to spare 3-4 hours everyday while we were shooting just to watch the dailies by myself on my little video camera, so I would have an idea what to shoot for the next night. You let the footage inform you. And you let the story and the atmosphere take shape while you are making the film. Although I work that way anyhow when I make fiction films, I had never done it to this degree before and I learned a lot from this experience. Whenever the producer or the assistant asked what I wanted to do next, I always said "I have no idea." It’s very liberating.

Is working without a script or complete storyline scary in any way?
It was scary in the first few days, and then you get used to it. You begin to realize that the scariness come from your expectation that something should happen and it might not happen. Once you stop expecting and just start responding, the process become much more enjoyable. And if you don’t expect to create a masterpiece, then you become more relaxed.

What was the most challenging part about making this movie?

That you would, ultimately, come up with something worthwhile.

Are there any other sports you'd like to make a documentary about?
Coyote dancing, but that hasn’t been officially classified as sports yet, has it?

What's the most important element you need to see in a project before you begin working on it?
First and foremost, it would be the fact that it is something I hadn’t done before. It thrills me to go into a project with half-confidence or zero-confidence and fantasizing that if I could pull it off, it would be brilliant. It keeps you struggling and concentrating and learning. It keeps you away from compromising.

Thursday, May 31, 2007

I'm back!

I tried using WordPress for a while, but the interface and everything about it was just so not me. I'm happy to be back here again with Blogger. Whoopee!



Monday, February 26, 2007


Here's a short story I wrote. I call it:

bush dreams


1.



Richy lumbered out of the guesthouse and made his way to the dusty jeep, sleep still hiding in the corners of his eyes. It was too early and he itched all over. He regretted giving into the others who opted for saving a couple bucks by staying in a room without mosquito nets.

The guide drove them out for hours, deep into the bush, until the sun had risen well over the horizon and they began to sweat. Vegetation seemed to spring up nearly everywhere in that part of the world and the further the guide drove them away from the village, the more the huge plants encroached on the trail, making it abundantly clear where they stood in the importance of things.

Somewhere along the ride Richy fell asleep, and when he awoke the jeep was stopped and the guide was outside standing in a bright patch of sun. The path came to an abrupt end at the mouth of a large ravine. Between the two bare rock outcroppings, a long, wide bridge made of bamboo slats and vines swayed in the breeze. They tested it with their weight, and it seemed to be sufficient to their standards. The guide mentioned he had driven across it once before, so they piled back into the jeep and rolled slowly onto the bridge. Once the full weight of the vehicle hit the slats, creaks and whines howled from the labored vines.

“You sure this is gonna hold?” Gomez asked, peering at the river below.

“Sure,” said the guide after a too-long pause, “as long we’re fast.”

About halfway across the kilometer-long expanse, the jeep rolled to a halt as the party realized a particular detail that somehow eluded them while on land—an entire section of the bridge was missing slats.

“Wait here,” said the dark skinned guide. He got out and walked to the edge with one hand on his hip and the other rubbing his longish, messy brown hair.

“You sure this guy knows where he’s going?” Tom said.

“Better. I paid a lot of money for this information,” Gomez said.

“I’m sure you did,” Tom said with a sneer.

“Oh, I suppose you know better?”

Tom just shrugged. There was tension in the car where there wasn’t any before, though it was not yet 11am. Richy was reminded what a bad idea it was linking up with this crew. He’d done solo trips before, but for some reason the trip over land from Caracas was a lot rougher than he thought. He hadn’t anticipated how dodgy the roads were for solo travelers, not only because of the locals but also because of ruthless fellow prospectors. He met Gomez and George in some backwater village and agreed to go trek with them a bit, not knowing Tom was also part of the package…

“You got a smoke?” George asked.

“Piss off,” Tom said.

“Come on, I saw you have a whole carton.”

“Exactly. I have a whole carton. You should have planned ahead. 7-Eleven’s haven’t exactly made it to this part of the Amazon yet.”

Richy popped the driver’s seat and got out. He walked up beside the guide and carefully peered over the edge. Fifty meters down, the river was a nest of brown snakes winding around sun-bleached rocks.

“What do you think?” he asked the guide.

The man said nothing, narrowing his eyes and pointing with his chin. Richy followed his gaze down far below to where the rocks of the riverbank disappeared into the heavy foliage. Nothing seemed out of the ordinary.

“What…” Richy began, then spied a thin vein of smoke coming out of the trees. He followed it down to the roof of a camouflaged makeshift hut. Richy scrutinized the structure and saw that a series of ropes ran from the hut all the way over to the rock wall on the far side of the ravine where it was engaged with some pulleys. The ropes then sprung from there, over the tops of the trees, and terminated at another set of pulleys on the bridge near where they were standing.

The ropes suddenly sprung to life and Richy jumped back as if a jungle insect just landed on his shoulder. He peered back over the edge and saw a small platform slowly creeping towards them via the rope and pulley system.

The guide’s long strides brought him to the back of the jeep in an instant, where he opened the hatchback and pulled out a sawed-off shotgun.

“Whoa…what’s going on, Rich?” George said.

“Who’s down there?” Richy asked the guide.

“Mmm. Bandits.”

“Bandits?” Tom said. “Fuck, Ricardo, I thought we told you to take us by the safe road. Safe road—comprende?”

He shot a glare at Tom that would have turned porridge to stone but didn’t say a word as he slammed the hatchback shut.

The small shelf came on level with the bridge and the guide grabbed the empty canvas bag resting there.

“How much?” Richy asked.

The guide kicked at a chunk of mud on the bridge with boots so weathered they probably had names. Some fell through the slats and Richy watched as it tumbled helplessly through the air before plunging into the watery onslaught. The guide just shook his head slightly.

“What happens if we don’t pay? I mean, can we just go back?” Richy said. They both turned around, and at the mouth of the bridge two ugly Indians sat on short brown horses with automatic weapons cradled in their arms like infants.

The guide was unmoved by the sight. He sniffed and wiped at his nose with the back of his hand, making no eye contact. “Out here, people disappear all the time,” he said.

The wind picked up and Richy heard a long, fractured roll of thunder not far off. The guide threw the shotgun over his shoulder and peered at the darkening sky. “Get money from your friends. They won’t wait long.”



2.


“A bribe? You got to be fucking kidding me, man.” Tom slouched deeper in his seat and pulled out a Camel Light.

“That’s what he said,” said Richy.

“You know what,” Tom said lighting up, “I bet this fucker is in on this shit. I bet this is just a set up. You know, he sees a couple gringos come up here…fuck that, man. We got snowballed. Let’s turn this piece of dog shit around and head back to the village.”

“The bribe is to go back,” Richy said, pointing at the two Indians at the mouth of the bridge. The guns looked like AK-47s to Richy, but the only point of reference he had for saying that was the movie Platoon.

“Shit. We’re trapped,” Gomez said.

They argued over how much money would be appropriate in the way unworldly 18-year-olds might, though they were all practically 30. When they came to a decision, they handed the sum over to Richy in a pile of local notes and a few American dollars. He went back to the guide and showed it to him.

“Do you think this will be enough?”

“Let’s hope so,” the guide said and stuffed it into the canvas bag on the shelf. He tugged the rope and the shelf began to descend, operated by unseen hands inside the hut. It started raining very hard, and they got back into the jeep.

“Can we go now?” asked Tom.

“No,” the guide said eyeing the armed horsemen in the rearview mirror. “These people can be very unreasonable.”



3.


After what seemed like an eternity, the men on horses still unmoved, George noticed that the shelf had returned to bridge level again. In a flash, the guide was out of the jeep. It was raining even harder than before, and seeing the guide go as far as the edge of the bridge and back made him become misty and unclear, like a ghost disappearing in fog. He got back into the jeep and inspected the canvas bag—it was empty.

“Who are these guys?” Tom asked the guide. “You know them? Are these your buddies or something?”

“No,” said the guide, then explained that this type of thing was not uncommon. “It could be much worse. They could have just killed us, then taken your money.”

After a long, heavy silence, the group pulled out the rest of the cash they had. Tom prodded the guide with his fist. “What about you?” he asked. “You got anything?”

The guide just shook his head slowly, not meeting anyone’s gaze. Then he took a cheap metal watch off his wrist and put it in the bag. Gomez and Richy protested that he should just keep it, but the guide didn’t respond and made no move to remove it from the bag. Gomez put some marijuana in that he had bought in the village a few nights before.

“Nice, Gomez. Let’s hope they’re potheads,” Tom said.

“Fuck off, man!”

The guide opened the jeep door and the sound of the rain slapping against the bamboo slats filled the vehicle. He put the bag on the shelf and pulled the ropes.

When he returned to the jeep, the noises began. It started with a snapping, springing sound. Richy couldn’t see where it was coming from, but the clattering of bamboo bouncing off rock confirmed it was something coming off the bridge.



4.


Ages past. The singing of the snapped vines holding the bridge together came more and more frequently, and with each sickening twang, another nerve in each one of them wound a little tighter. A musty male smell filled the jeep. The boys swatted at mosquitoes and moved side to side restlessly.

The rain had lightened a bit, but it was still coming down in buckets. The rush of the swelled river was now loud as a waterfall, and overpowered the wet slap of rain on the bridge slats.

“Aww, you gotta be kidding me,” Gomez said, looking at the shelf as it emerged at bridge level a third time. Richy’s heart sank and he got out to look at the silent hut. There was a menace there, he could feel it, but not a single thing visually confirmed that feeling.

“What do we do now?” George pleaded. “Game over, man.”

Gomez clenching teeth looking at the horsemen and said, “Maybe we can just plow through those guys. You think those guns will work with all this rain?”

“You wanna risk your life finding out, Gomez?” Tom asked.

Gomez turned and went for Tom with both hands, but George held them back and in a moment it was over. Some angry words were exchanged and they fell into silence, sick to their stomachs with fear. The springing sound of snapping vines and creaking slats screamed in Richy’s ears until it was unbearable. Finally, the guide picked up the shotgun and cocked it once, then started up the jeep. He turned it around so they were pointed towards the mouth of the bridge.

“What are you gonna do?” Tom asked, but the guide was silent. He unzipped the plastic driver’s side window, and the sound of vines and bamboo slats creaking filled the vehicle. As if answering Tom’s question, the guide put the jeep in gear and punched it. The rear wheels spun on the wet bamboo for moment then caught, and they hurtled forward, the whole vehicle rattling against the slats. The two riders made their way onto the bridge—their faces masks of aggression, guns still pointed in the air. As they got nearer, Richy could hear the horsemen shouting in a dialect he didn’t understand.

“Ah, hey man, I-I think he means you better stop,” Gomez said, his voice shaky from the vibration.

“Yeah, maybe we should stop,” Richy said.

The guide said nothing, his eyes unwavering. He pointed the shotgun into the air and squeezed the trigger. The blast scared the horses and one of them went up on its hind legs, throwing the rider. Rage lit up the other rider’s face and he raised his weapon to eye level.

“Fuck!” Gomez shouted, ducking his head below the dashboard.

The air was suddenly alive with a barrage of explosions. The front windshield shattered, the whole jeep jolted and Richy was thrown against the back of the driver’s seat. The plank beneath their front tires must have broken, because when he looked up, the vehicle was facing down and he could hear the rear wheels spinning in the air, the engine racing furiously. The guide was leaning against Gomez, a wet, red spot slowly expanding on the front of his shirt.

“Oh God…fuck man, I think I’m hit,” George bleated, the guide’s blood splattered across his face like a Jackson Pollock brush stoke. Gomez pushed the guide’s body off him and tried to open his door, but it was jammed against a broken slat.

The cracking slats sounded like backbones ripping apart and Richy knew it wouldn’t be long before the whole thing gave way. Tom crawled over the backseat and opened the hatchback door. Once he and Richy got out, they looked up and saw the horsemen running to the far side of the ravine, which was skewed at a 45-degree angle. Fuck, Richy thought. This can’t really be happening.

“Run!” Tom shouted, and they started sprinting towards land. They didn’t get five paces before the bridge gave its final, sickening snap and fell away beneath them.



5.


His mind racing, reptilian, Richy struggled to stay conscious. He pulled himself onto a passing rock on the riverbank somehow; feeling like someone else was doing it for him. The pain colored everything he could see and was driving him out of his mind. The screaming wouldn’t stop. Stay awake. If you fall asleep, you die, he said to himself.

He looked down and saw his shinbone was popping through his skin out of the front of his leg. The rock he was resting on was already covered in deep red. A fresh wave of pain came, and he felt faint. He joined the scream, whoever it was, just to keep from going under.

The moment passed and Richy saw Tom laying on the far side of the rushing river, his brains scattered all over a rock like a burst water balloon filled with red wine and ramen noodles. Richy fought to keep focused but the madness was taking over. It’s winning, he told himself, don’t lose it, don’t…but it was too strong. Finally, he resigned, the colors around him fading and wrong.



6.


Night. Richy was lying down in some kind of enclosure. It was too dark to see anything but through the open door the light of a fire flickered, far off, and there was a distant sound of water. He could feel the presence of someone in the room with him and he stirred.

“Be still,” a voice intoned. “You’ve broken your leg and fractured your hip in three places.” There was something strange about this voice…it was dispassionate, yet oddly familiar, as if he were hearing the voice of his brother from a past life.

Outside, strange lights were flashing. Colors skipped off the walls that he’d never seen before—a spectrum with which he was entirely unfamiliar.

“Wha…what is that?” he asked, half delirious. “Looks like a meteor shower on J-Jupiter…”

“Relax,” said the voice. “It’s the medicine. Just try to sleep.”

Pain raced through his mind like an electrified river rat and the blackness mercifully took over again.



7.


He awoke (hours, days later? He couldn’t be sure) and someone was feeding him warm gruel. Richy ate sparingly. He passed in and out of consciousness, falling out of time, seeing strange people and things walking past the hut.

Night passed, then day, then night again. The strange lights flashed in the sky when it was dark; nameless colors falling like rain on the rough-hewn walls.

“What is that out there?” he whispered to himself, his voice sounding strange and far off. He felt the figure sitting in the darkness, just out of his reach. It didn’t answer him.

With trepidation, he reached down and felt his leg. A hot thread of pain shot up his spine like a trip wire to his brain. The wound was fresh still, but the bone seemed to be back in place.

“Where are my friends?” he said to the faceless voice. He felt strange calling them that, since he had hardly known them. “What happened to them?”

“Who?” the voice said. “You arrived alone.”



8.


It was night again when Richy awoke, but he felt like moving. He shifted his weight, then sat up, swinging his legs over the side of the cot. His leg was tender, but somehow, miraculously almost usable.

“Hello?” he said, searching for the voice, but no one was there. He felt around and found a long stick beside his bed intricately carved with strange runes he did not recognize. He held it up and saw they ran the length of the staff and seemed to almost glow with some unknowable power. He used it to stand up, then slowly moved to the doorway. The bridge and the river were nowhere in sight, but he could hear water rushing in the distance.

There was a clearing in the jungle about 40 meters away. Three creatures stood there, their arms stretched up in the air. They were abnormally large—Richy judged eight or nine feet in height, perhaps taller—and had light beige, almost white hair covering their entire bodies. They wore no clothes. Each had a long, drawn out head, and at the center of the forehead was a single eye. It looked as though they had tusks or something coming from their mouths, too, but Richy couldn’t see clearly at a distance.

From the creatures’ up stretched arms, light emanated in a phosphorescent glow. The light shot into the sky where it played amongst the stars, not unlike pictures Richy had seen of the aurora borealis. The patterns of colors and clouds swirled and danced. The sky was alive but so peaceful, like the shining of a beautiful dream far after one had awoken. Hazy, beautiful clouds of mist and reflection caught the light of the stars and the moon, and twisted them into an ethereal parade across the sky.

Whether the creatures were communicating or simply playing, Richy could not tell. They seemed to be in deep in concentration, their single eyes closed and furry white foreheads deeply furrowed. A low, resonant ohm sound could be heard.

In spite of their strange appearance, the creatures and the ceremony they performed inspired nothing but love and awe in him. He wanted to be part of whatever it was they were doing. He began making his way towards the clearing, but before getting more than a few paces from the hut, he was overcome by an incredible lethargy, as if all his energy had been sucked away simply by leaving the room. His leg began to ache. Though he deeply wished to talk to the creatures, he suddenly found it difficult just keeping his eyes open. Richy hobbled back to his cot as best he could and fell into it, sleep taking him prisoner before his head hit the pillow.



9.


The next day, Richy woke to find himself in a clearing beside a pathway. He sat up and looked around, realizing he was just outside the town he had stayed with the other boys, what seemed like a lifetime ago.

He reached down and felt his leg, which ached faintly. He shook his head, confused, trying to work it all out. Beside him there was a long stick intricately carved with strange runes lying in the grass. He reached out; half assuming his hand would pass right through it.

It didn’t.

Richy smiled and used it to get up. He brushed off his dirty shorts and began walking in the direction of the town, already relishing the thought of telling his friends back home the tale—knowing no one would believe him.

Tuesday, January 30, 2007

I went to Hong Kong last weekend. It was weird. This is what it sort of looked like from inside my head.











Thursday, January 04, 2007

Here's a couple cool photos from a fresh, talented photographer my friend Marc turned me onto. His name is Diego Gravinese.






Wednesday, January 03, 2007

Christmas and New Year's this year was less than exciting considering that I was not at home, and the fact that bombs were going off all over the city (still are going off all over the city...), but I went to a couple cool parties and I have to be thankful for that. Here's some pics. Thanks to Karen and Lin for them.



The ever popular PowerRanger reindeer made an appearance at Travis' XMas Xtravaganza this year... whoo hoo!



Wednesday, December 13, 2006

My little travel story on my Luang Prabang trip a few weeks back just got published online here on the AziaCity site. Ch-ch-check it out.


The funny thing that happened that didn't get mentioned in that story though is that this dude Piya, who I met on the side of the road, ended up being a complete nutter. He was a boat driver and on the day I met him, it was Nam Boon Bong Fai, or the Laos Festival of Light. During this fest, which is a lot like the Thai Loy Kratong, they have long tail boat races during the day and fireworks and stuff at night. He offered to take me to hang out with some friends and watch the races. He seemed cool, so I went.

We approached the muddy banks of the Mekong and I could see people going crazy at a distance, cheering as the boats raced each other not far from the edge of land. People were singing and dancing and banging anything they had, from metal garbage cans to plastic tubs to the long tail boats themselves.

Once you got away from the river and got into the jungle, it was seriously like a hill tribe rave. There were HUGE soundsystems everywhere jamming some music that sounded like Thai luk thung, but my new friend Piya assured me it was not--this was the music of the Laos hilltribe called the Kaa Muu (i'm probably spelling that wrong). Anyway, it was loud, sounded vauguely like reggae with accordions and wind pipes and stuff, and they had 2 MCs shouting out and singing.

After dancing for a while and eating fried chicken feet (ugggh...) we went to Piya's brother-in-law's house. We sat at a table and the people there could speak Thai so we were chatting a bit. They got some food for us and this woman was passing around shots of lao lao, or khao lao--in other words, Laos moonshine. One shot of this stuff could put you out, but this lady just kept passing it around and around and around...man these people were hammered. I stopped and just politely refused after a while, but it was crazy.

Eventually Piya brought me back to Luang Prabang and I stumbled off to my hotel. It was a good time and I feel lucky having had the dumb luck to be in town for such a cool festival.

Ahhh, the weird and wonderful world of Tokyo. Here's some more pics that tell stories all their own...


The photo in the lower right hand corner I took in a toilet...it's instructions on "How to Wash Your Buttocks." The sign John is posing in front of is a club called Holy Bitch... umm, OK. The reindeer hat was in a department store with tons of other AWESOME Christmas costumes...like everything you could imagine and more, from slutty Santa dresses to elf costumes, to a Christmas tree dress with a star hat (indescribable), and--my personal favorite--a bizarre mutant mix between a reindeer and a Power Ranger. Ha, ha, ha... I couldn't resist. Pics to be posted soon.

Monday, December 11, 2006

I just got back from a trip to Tokyo. It’s a pretty amazing place. I find it difficult to even describe as I don’t really know where to begin. The place is so big and so radically different than any other city I’ve been to. Having been there such a short period of time, I feel like I didn’t even scratch the surface in terms of finding out what really goes on there… so many subcultures and weird little idiosyncrasies… fascinating and completely engrossing. Here’s a couple snap shots that will hopefully do a better job describing what I’m talking about.






I have no idea what this says but I love the guy in red's expression (and his track suit).
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Thursday, November 30, 2006

Intention and Detachment


Something came into shockingly clear focus for me last night. I think my man Deepak Chopra here best said it:

“The only true security comes from your willingness to embrace the unknown. By relinquishing your attachment to the known, you allow wisdom and uncertainty to factor into all your choices…Practicing detachment and embracing uncertainly, you relinquish the need to hold on to the past, which is the only thing that is known. By being open to what is happening rather than trying to control how things unfold, you experience the excitement, adventure and mystery of life.”

In other words, it is only through focused determination to go in the direction in which you want, balanced with an acceptance of the uncertainty and chaos of life—in other words not being too obsessed with a certain set of results coming from your efforts—that fulfillment can be achieved.

This mix of intention and detachment seems to me to be the key to happiness and making your “dreams come true” so to speak.

Of course, it’s easier said than done…

(photo by the one and only Meg Pukel)

Wednesday, November 29, 2006


It breaks my heart to say that while I was in pain
I wanted you to feel the same.
But nothing gets you really?
That’s a shame
I can’t believe you didn’t feel a thing.


(image from: http://twofeetin.typepad.com/elisa/amazing_sky/index.html)
“If you accept that your personal body is not separate from the body of the universe, then by consciously changing energy and informational content in your body, you can influence the energy and information of your environment, your world. The influence is activated by two qualities inherent in consciousness: attention and intention.


“If you want something to grow stronger in your life, direct more attention to it. If you want something dimish in your life, withdraw your attention from it. Intention, on the other hand, catalyzes the transformation of energy and information into new forms and expressions."

“The Law of Detachment revelas a great paradox of life. On order to acquire something in this world, you have to relinquish your attachement to it. This doesn’t mean you give up the intention to fulfill your desire—you simply give up your attachment to the outcome.


"Attachment is based on fear and insecurtity. When you forget the only genuine source of secutiry is your true self, you begin believing that your need something outside yourselrf in order to be happy."

-Deepak Chopra

Tuesday, November 28, 2006

Here's my review of the film, The Prestige.

Are You Watching Closely?


The Prestige
4 out of 5


A movie like The Prestige reminds us that going out to see a magician perform was once as common as going to the movies. Technology has “pulled back the curtain” so to speak on such magic, and it’s a lot harder to fool people in the same way, but such magic does still exist. The only difference is that the practitioners no longer wear black hats--instead they sit in Hollywood studios and wave their hands this way and that and poof! Audiences walk out of theaters happily surprised—at least they do when the Nolan brothers are at the helm.

Based on a Christopher Priest novel of the same name, The Prestige tells the tale of Angier (Hugh Jackman) and Borden (Christian Bale), two men working as audience “volunteers” and friendly apprentices for an older illusionist. Their friendship turns sour, however, when a mistake in the act leads to the death of Angier’s wife, and from there on in, it’s a cold and dark display of two men bent on discrediting the other while at the same time sharing an identical obsession—the fame, fortune and prestige of being the best illusionist in 19th century London.

The story is masterfully laid out by Christopher and Jonathan Nolan, known best for the fragmented storytelling style exhibited in Memento and Batman Begins. The film’s only flaw comes from unevenness stemming from the actual nature of the characters. Jackman’s Angier is a natural showman with little smarts in creating tricks, while Bale’s Borden is the true genius but a creepy introvert both on stage and off. The story mostly follows the more likable Angier, including a trip to Colorado to meet with real life inventor Nikola Tesla (a terrifically bizarre turn by David Bowie) to create a special machine he hopes will enable him to perform an illusion called the Transported Man. While the filmmakers slight of hand is endlessly engrossing, the characters themselves are difficult to sympathize with as they throw aside all that matters to them (including love interest Scarlett Johansson, who looks completely lost) until it seems even they can not recall what exactly began their tumultuous feud. Nevertheless the audience will be hard pressed to look away as it seems at every turn you feel you are getting a peak behind the magicians cloak, only to see another hallway of smoke and mirrors.

The inclusion of Nikola Tesla as well as Thomas Edison in the film—themselves bitter rivals in the game of invention and vying for grant money—hint at the film’s underlying theme. Set in a time when electricity was first being discovered, The Prestige shows us that the true magic in the world lies not with illusionists, which we know deep down are simply tricking us, but rather with the progression of science and technology, which even today are the things that truly inspire awe.

THE EARLY YEARS

The Early Years / Beggars Banquet

4 out of 5

Putting your finger on exactly why this band totally rules is difficult at first. There’s a certain psychedelic jamminess to them that makes them sort of resembles The Secret Machines, with heavily effected guitars swooping in and out of the sky like the ring wraiths on the backs of black dragons. At other times the trio sounds like Stereolab, frenetically searching around the room, exploring its dimensions with echo radar like demented space dolphins. The Early Years are a composite of many subtle elements that really just makes you wanna get up on your chair at work and rock that air guitar like no one in the office is watching. “Song for Elizabeth” is the perfect Western drug ballad, channeling the spirits of Jesus and Mary Chain and Mazzy Star in some kind of unholy ritual. Their extended instrumentals are totally trippy without being corny at all and will rattle your spine like strychnine if you are wearing headphones. Take me away!



M. WARD

Post-War / 4AD

3 out of 5

Steely strings and raggedy vocals most notably characterize M. Ward’s body of work. The singular voiced singer/songwriter personifies the American Southwest to a tee. Just listening to this album you can almost see the desert plateaus painted in crimson and lavender hues, the sleepy towns, the abandoned shacks and surreal rock formations aside a long burning strip of highway cutting the vacuous landscape in two. Nestled neatly between indie rock, folk and American country music, Post-War sounds like a collaboration between Johnny Cash, Nick Drake and Arcade Fire. It’s a collection of campfire melodies, old time rags, myths, legends, creaky wives tales and dirty-mouthed poems. Its chugging, locomotive rhythms are at times borderline hokey, but for the most part are entrancing. It’s a unique listen for those in a quirky, mellow mood.


DEPECHE MODE

The Best of Depeche Mode / Mute

1 out of 5

Mute as a record label has definitely had their heyday in terms of releasing some really cool music over the years, but something is obviously wrong with them at this point. Seriously—what are you thinking releasing another Depeche Mode “greatest hits” album? How many of them are there at this point—15, 20 maybe? All right, so they are perhaps the coolest synth rock band in history, but still. In 1998, Mute themselves released a definitive collection of DM’s hits on two CDs—one covering their best and brightest released 1981-85, and the other covering their hits 1986-98. OK, so the group came out with a few more releases since 1998, but nothing that even approaches the quality of their earlier work. And the songs on this collection are not their greatest hits. Kudos for including “Never Let Me Down Again,” an oft-ignored gem of the DM catalog, but there are some glaring absences on this album. For example, where is “Dreaming of Me”? “Get the Balance Right”? “Blasphemous Rumours”? “Shake the Disease”? Hello??? Is anybody home? Come on, boys, you should know better.
Here's a couple of my recent CD reviews. Whoopee.


ROBBIE WILLIAMS

Rudebox

2 out of 5

What do you do when your boy band breaks up? The most obvious course of action is to become a solo artist. Mr. Williams did exactly that years ago and up until now has enjoyed a fair amount of success, probably due to his tongue-in-cheek, cheesy vibe that’s kind of likeable and he is ballsy enough to drop his trousers on stage. But one can only really carry off that shtick for so long before people remember that the whole reason you were famous to begin with was not because of some innate musical ability you had, but rather because you agreed to be a record label muppet and dance around on stage while someone else was pulling the strings. Rudebox may very well be the point at which people start thinking, “sorry, remind me again why you are famous?” (if they haven’t already thought this). The album is an amalgamation of styles, but mainly centers in on electro funk pop, with some of the songs trying desperately hard to sound like Gorillaz. He got some production help here and there from the Pet Shop Boys, and those songs are decent if unspectacular. The rest is just OK. I think the main problem he suffers from is that he’s a much better singer than he is a rapper, and yet he insists on rapping terrible lyrics throughout most of the album. Williams is very eager to entertain, and that may be cool for a live show, but as for listening to his album, I wouldn’t make it a priority.


RAY CHARLES AND THE COUNT BASIE ORCHESTRA

Ray Sings, Basie Swings

3 out of 5

As David Ritz so succinctly writes in this album’s liner notes, “This pairing never happened, but it should have.” The idea was born when record exec John Burk was going through some old tapes and found one labeled “Ray Charles and Count Basie.” However instead of being what he had hoped for, a collaboration between the two giants, the tapes were actually the two artists playing alternating sets at a mid-70s concert in Europe. The idea stuck with Burk, though, and with a little creative recording, they matched Ray’s solo voice tracks with a new recording of the still existing Count Basie Orchestra (Basie himself died in 1984).

Is it ethical to do such things to the works of an artist who is already deceased? There’s little doubt that the artists both respected each other a great deal, and upon listening to it, it’s clear enough that the result certainly harnesses some magic. The sound is bluesy, big band jazz and perfectly reflective of Charles’ repetoire at the time. No longer did he play songs he himself penned, but instead settled into what many call his much stronger role as an artist—that of master interpreter. This album features both songs he became well known for (“Georgia on My Mind”) as well as some interesting personalized renditions of not so well known material (Lennon/McCarney’s “The Long and Winding Road”). Great for the casual listener, but serious fans may find the renditions a bit less exciting as neither of these geniuses actually was there to approve the recording.

Sunday, November 12, 2006

I was supposed to go to Tokyo this weekend--didn't work because my travel agent messed it up. Then the alternative plan was to go to Hua Hin, but... woke up too late on Saturday morning. So, poo poo poo, I'm in Bangkok again for another weekend. S'ok tho.

Saw Nick Zinner from the Yeah Yeah Yeahs here on Friday--he played a DJ set at Astra. Pretty cool. the place was half empty when I got there around 11. He came on at 12:30 and the place went nuts. Highlight was def when he dropped the Daft Punk track. It was fun. Lots of crazy dancing and such...good times.

Wednesday, November 01, 2006

Here are a couple pics from my recent trip to Luang Prabang, Laos. It was radical! Totally laid back place where you can forget all your worries. Luang Prabang is positioned in the middle of the Mekhong and Nam Rivers, and when you sit on the banks, you KNOW you are miles from civilization. Not that Luang Prabang isn't "civilized," but it's definitely not anywhere near as hectic or built up compared to a city like Bangkok. Take a few steps out of town and you are in the jungle, brother. Fun place to dissapear for a while...

 
 
 
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