lovehate: 2009 - The Year of Distractions

There was a whole crapload of freaky, scary stuff that happened all over the world this past year. It's a shame that most of us got, at best, glimpses into what are probably some of the most pressing and meaningful issues of the day while most news outlets decide to spend the majority of their time on mindless minutiae, or buying into slants of stories that are promoted to shunt us away from truth. 2009 suffered the media equivalent of someone pointing up to a phantom airplane, and while everyone else looked, they'd run away.

Here's only some of the stuff that occupied WAY too much time on the airwaves this year:

Michael Jackson: Sure he was talented, but he died. There were a whole bunch of other talented people who died this year, some who may not even have heard about before. That we had to sit through 24 hour coverage, for weeks on end, on where, how, and why he died  spoke not as much to any crime, talent or celebrity, but more about how news networks love to retell the same story 8000 ways when they have plenty of archived footage to use up. And why not kick in a film for good measure.

Tiger Woods: I don't care that a golfer screwed around on his wife more than the guy who works in the convenience store down the street. If you have couples living to the left and right of you at this moment, odds are one of the four are screwing around with someone. He golfs. He's an idiot. He will return. And our Schadenfreude will know no bounds.

Susan Boyle: Yay! A foppish English tart can sing! Who gives a shit? Anyone can sing... maybe not in tune, but at least they hit continuum. Everywhere I turned for a month there was some new story about the downward spiral of this complete fabrication of "reality television" and how she took the public, content with shitty quality mp3s and autotune voices to heights of ecstasy. If I never hear of her again, I will not shed a thought.

Balloon Boy: Even if the story was true, it should still not have garnered the attention it did. Why does the story of some kid in a balloon rate higher than the millions who starve every day? You know what they say: one child not floating in a balloon reported on by thousands of reporters is a tragedy. One million children starving and not being reported on at all is a statistic.

Copenhagen: Hey, let's drum up vision of sugar plums, or at least the Little Mermaid and take everyone's attention off what's really being done at these conferences... do you think they're really discussing climate change? Scientists discuss climate change. World and corporate leaders discuss how to make money and political spin off of climate change. Whether you buy into the changes in the weather or not, rest assured climate change for the good or bad of every day people was low on the list in terms of the real discussions in Copenhagen.

Swine Flu: Quick, let's come up with a sexier, sci-fi sounding name like H1N1. Let's threaten old people and children with it. Let's spend hundreds of millions, if not billions of dollars on vaccines that haven't been tested. Let's make sure everyone is scared enough to line up for hours to get the shots. Let's keep scaring everyone so that they don't realize we've spent so much money during a brutal depression on propping up the stock of Glaxo Smyth Kline. Let's try to figure out a way to not let people know that within a year we will have tens of millions of doses expiring in warehouses around the country when the final bill collectors come knocking.

Chris Brown and Kanye West: Fuck you both. Combined you idiots wasted more of my time with senseless drivel than any other asinine talentless duo except maybe...

Jon and Kate Plus 8: What the fuck? Do I really have to have news devolve to the point that reality show characters have become headline worthy? If that's the case, I may as well treat everyone on the news like a reality show character. Hey look! It's Barack Obama from Political Idol... I wonder if he'll get voted out of the house this week?

Octomom: Some stupid woman gets some stupid doctor to give her some stupid fertility pills and she pops out 8 kids and I'm supposed to give a shit? This is crap we would have laughed about in supermarket tabloids 15 years ago and now its international news. My how we have gotten dumber! The only time I ever want to hear the Octo prefix again is during a trailer for an upcoming Spiderman or a Discovery Channel show.

We are idiots. We allow this to happen through passivity or sheer ambivalence.

In most revolutionary handbooks one of the first things you are told to do is take over all the television and radio stations. By taking control of the media, you can control the public. If you count the hours you were exposed to these stories this year, and assume that those that control media are trying to control you, start to ask: to what end? 

Aren't broadcasters federally regulated? Doesn't this mean we (at least theoretically) could take some control back over mass media outlets? If we were at all going to buy into the Roland Emmerich pitch that the world would end in 2012, I'd say that 2009 was a pretty good case for thinking it might not be a bad thing... at least we wouldn't notice anyway... not if a celebrity had sex with an alien.

lovehate: Consumers Ring The Death Knell For Old Media

Don't get me wrong. I'm a big content guy. 

What I mean is that I believe content is king, but I'm starting to parse out a fine line that exists between content and concept in consuming information.

I've always been a firm believer in the idea of style over substance IF one can start to see the style as substance in itself. I'm also a firm believer that both are borne on a dual-purposed concept of creator and consumer.

I know. I'm talking in circles. Give me an paragraph or two to explain myself.

There are relatively few basic themes in literature as compared to the plots, characters, and settings that inhabit them. I always taught my English students that at the very root, a literary theme had to have two things: subject and slant.

It's not enough to say that "love" is a theme. By combining that subject with the creator's bias on it, however, a simple theme can be derived. For the J. Geils Band Love Stinks. And based on this simple syntax we can develop themes from the obvious to the arcane in arts and media. There have been countless writers, artists, musicians and thinkers who have all ruminated on the simple idea that love stinks. No matter how high the numbers creep, we still keep coming back for more.

Many Shakespearean characters have inhabited the love stinks theme, and without fail I find their stories more interesting than the one told by the J. Geils Band, although admittedly not as rockin'. And here's where the worm starts to turn. We often think of style v. substance and form v. function, but both of those equations miss the mark in terms of the importance of pre-existing concept.

You may watch Ophelia ass up in an Elsinore pond and ruminate "well, it sucks to be her", or you may find it to be a tragedy of frailty undone by all-consuming spurned devotion. Your choice will NOT depend on the words of Hamlet, as most folio versions are relatively the same, but instead on the direction, acting, execution of those performing, and the mindset you bring to the scene.

Regardless of which feeling you choose to embody after viewing the unfortunate non-swim, a curious venn has erupted from your sensibilities that you are probably unaware of: 1) Shakespeare understood how love can stink, 2) he also had to pen the words to fuel the character on how love could stink, 3) the actor must embody the belief that love stinks, 4) the director must set the scene to persuade you that love stinks, and 5) if you had a slice of luncheon meat on the verge of turning for lunch, steps 1-4 won't mean shit to you as much as how to find the nearest restroom.

Concept, content, and consumption bleed into each other with compunction. There is no real separation of the three. So when I say I don't care what you say, but I love the way you say it, I'm really not trying to be two dimensional or glib. There are simply very few times I'm looking for raw data in everyday life. I want the story, the interpretation, and the presentation.

Why do people care which newscaster they listen to when 90% of the stories are the same after being pumped out by a wire service? Why do people care which podcasts they listen to for daily tech or entertainment news when 90% of the stories will be the same. Why do people read 1000 poems about the trials of love or 1000 novels about horrors of war or listen to 1000 songs about the righteousness of the oppressed? It's all about the presentation.

If one stands up in a drunken bellow on Speaker's Corner and decries oppression through burps, belches, and bromides, any concept and content will be lost. But if I sit back after 40 years and watch Richie Havens repetitively sing "Freedom" over an acoustic guitar and congas on YouTube, my heart reaches for the sky.

When I hear people actively engaged in conversation, when I see musicians smiling at each other and having fun on stage through the miscues and wrong notes, when I listen to or read someone who can use words to make content triumphant over concept and careless of consumption, I concede. I want connection over perfection and my substance will be redefined by a meshing of style and interpretation.

I would rather read T.S. Eliot waxing poetic about a used Kleenex or listen to Tom Waits reminisce about the "piss yellow gypsy cab" that went by than read 99% of journalists blather about world affairs. In this distinction, old media will continue its death spiral. 

The concepts at the root of both sides are always universal. Old media used to have authority over content, but the venn has bled. Consumers beckon for style, originality and voice... not simply bias, but voice. Such is the domain of a thinker, an entertainer, an artist, but rarely, and decreasingly so, a reporter. And while old media has tens of thousands of reporters worldwide, the web has hundreds of millions of thinkers, entertainers, and artists.

Move over J. Geils; you've lost your byline.

lovehate: Tiger Woods

Tiger,

I don't hate you.
I don't love you.
I'm not a fan of yours.
I don't golf.
I don't watch golf.

I do care that golf is perhaps a more boring television sport than NASCAR and that most weekends I can find 12 hours of golf tournaments on television while most worthwhile television dies a quick death.

I don't care that you screwed around on your wife any more or less than I'd care about some guy across town doing the same thing with his wife.
I don't care that your SUV took out a couple of telephone poles and trees.
I don't care that Nike pays you millions of dollars a year.
I don't care that you're an icon.
I don't care that you're better at a game any more than a Rubik's Cube champ or the winner of the Nathan's hot dog eating competition.

I do care that so many other people care.
I do care that as the world goes on without the soma-induced couch potatoes watching re-enactments of your driving lesson failures, people are actually suffering, starving and dying while your cell phone messages have somehow become more interesting than ALL of the following headlines over the past couple of days:

  • Three major stances in Copenhagen climate change negotiations
  • Indian PM heads to Russia seeking closer ties
  • House fire kills five in Russia's Urals
  • Tehran criticizes Swiss minaret ban
  • Philippine troops arrest dozens under martial law
  • Philippines seizes more ammo in the south
  • Surge puts Pakistan in a tough spot
  • Prepare for the long haul in Afghanistan
  • Several killed in Pakistan blast
  • Pakistan buries victims of Rawalpindi mosque attack
  • Guinea leader's accused assassin in hiding
  • Netanyahu makes final push to foil Swedish plan to divide Jerusalem
  • Ailing Thai king calls for unity on 82nd birthday
  • Morales Seeks to Continue Bolivia 'Revolution' After Vote Today
  • US envoy due in Seoul on N. Korea nuclear mission
  • US Marines press southern Afghan offensive

I understand that people sometimes need distraction and so they watch you enact a skill that you do better than anyone else in the world.
I would not dismiss your talent or your dedication to your craft.
I just wish you'd had as much dedication to your wife.

Not that I care.

But when you clog up the already congested arteries of my television with the spewing crap that is your life, it annoys me.
And I do care about my television.
As sad as it sounds.
Drive into all the telephone poles you like.
Just stop driving into my living room.

P.S.

I don't know your wife.
I don't care enough to even look up her name.
But I've seen pictures.
You idiot.
Dude, she's hot.
I've got about a dozen variations on golf puns right now.
But I'm missing my favorite fishing show.

thinglets: Real v. Weird News

Call me weird if you want, but when I look at the "Weird" News section of a "news" website these days, things really aren't that different from the "real" news. In fact I sometimes wonder if perhaps the only difference between the two is that the "real" news is about weird people doing mildly out of character things, while the "weird" news is about "real" people doing things that are often completely "in character".

I'm not in the UK, but I do love telegraph.co.uk's "Weird News" page.

lovehate: How I Never Waste Time Watching TV

Whether its called a time suck, a time killer, or a time waster, people are accused of occupying their time with pursuits that are determined by other "industrious" folk as wasteful.

When I was young my time "waster" was the television. But it was never called the television. It was the "boob tube", the "idiot box" or the "great hypnotizer". And I'll be the first to admit that I spent a whole bunch of time watching television as a child (and still do today), but I never felt it as a waste of time. There's something to be said for passively watching television, which in itself is not a bad thing. When you come home from a long day and need to unwind, there's sometimes nothing better than mindless television to allow a form of escapism.

I have also maintained, later in life, that watching television does not always amount to passive absorption. I believe one can pursue a somewhat active viewing of television that doesn't necessarily involve sitting down with a notepad and jotting down cryptic observations or witty rejoinders. The background one has with the medium allows for an certain internal criticism that is at once both cognitive and evaluative. The ability to establish pattern in one's mind to determine potential plot twists, effective use of camera or lighting and the overall conveyance of mise en scene or role is a skill that needs to be exercised by regular exercise. That's right, I said exercise. I'll not presume to assume that whenever someone watches television they're taking the "engagement" of the mind to heart... and they probably shouldn't.

I also remember that, for some reason, the task of reading, which is equally enjoyable, is somehow thought of as a more lofty pursuit than watching television. In fact, I always found it difficult to understand the continuum of what was considered a "waste of time" when consuming media. I'm not quite sure if it remained the same for all parents with their children, or if the general societal understanding matched the prevailing ranking, but it seemed to go like this:

The Time Wasting Media Consumption Continuum (from Worst to Not-so-Worst):

1) Television (or all of its aforementioned monikers)
2) Video Games (although often interchangeable with television)
3) Web (mostly condemned due to misunderstanding)
4) Reading Comics
5) Movies (though defensible due to the social aspect)
6) Reading Magazines
7) Listening to Radio or Music
8) Reading Novels or News

And I know there are neurological studies that show brain patterns flattening out while watching TV compared to reading, but doesn't that depend on who's brain? There's a common approach to literary criticism called, plainly enough, Reader Response Theory that basically weighs the impressions of the reader above and beyond that of the author's original intention. In other words, even if the author tried to present you with an allegory of the Russian Revolution, but to you it was just a violent story of pigs fighting on some sort of Animal Farm, why should your impression hold any less authority than that of the author. In other words, whatever experience I bring to the experience of consuming media, helps to define the work.

The approach doesn't work any less with television or web content. What you bring to the experience helps to define the it. And it can be a learning experience. Every bad television episode or web page you experience provides a semblance of context around which all others will be judged. File this knowledge to provide context and you've just found a way to give purpose to the time wasting. Be an active consumer of media and you'll always have an excuse whenever someone tells you to "stop wasting time". Of course it's still hard to defend playing Bejeweled on Facebook at work, or defending any "unproductive" activity at work for that matter... but at least you can adopt an educated aire while doing so.

lovehate: Five Myths of Canadian Copyright Dissolution

Having the first few minutes at home, in front of my desktop, since attending the Copyright Town Hall Inc. Lobbying Mixer this past Thursday at the palatial Royal York Hotel in Toronto's Financial District, I have decided to construct a blog post/submission to the copyright website all in one. And far be it from me to do anything normally, I thought I would use my words to poke some holes in the common myths that revolve around relaxed copyright legislation.

Myth One: Copyright is responsible for Canadian Culture

I can't believe that I actually heard one of the record execs in Toronto essentially say that strong copyright laws lead to better corporate abilities to promote Canadian culture around the world. Are we to believe that major label music is to be the hallmark of Canadian culture? Do I really want Nickelback and Avril Lavigne to be what people in Suriname, Guyana, or Guatemala think of my country's culture? Culture existed far before companies figured out how to monetize physical media, and it will always exist, even far after the death of an antiquated copyright system.

Myth Two: Copyright is responsible for creativity

Beyond the suits echoing the following sentiment, I can't believe that so many so-called "artists" tried to assert that strong copyright laws and the ability to monetize content was the reason for their creative output. To say that you cannot afford to create anymore if you can't make a living from it means one of two things: 
  1. You're not an artist, but a craftsperson doing nothing more creative than an assembly line worker cranking out product for money, thus, when the money dries up, so does your "ability".
  2. You actually believe that someone OWES you a living for doing something you proclaim to LOVE doing. I have written music, plays, essays, articles, poetry for all of my adult life because I enjoy creating. Let me repeat that - I ENJOY CREATING! I wish I could make as much money writing and playing music as I do in my day job, but I've accepted reality and not stopped creating. And before you think you're better than me at writing or music just because your output is marketable to the mainstream, and a suit wants to rake 98% of your money, get your head out of your ass.
Myth Three: Copyright protects content creators from getting ripped off

Copyright ensures that music creators will get ripped off by record labels. Most artists go deep in the hole when recording and need to sell tens if not hundreds of thousands of copies of a CD to get out of the red with labels. Labels know how to monetize the physical media platforms (like CDs) very well. They have not figured out how to monetize digital distribution systems. The "old school" way demands greasing palms of everyone and anyone connected with the industry to get radio play. A Creative Commons approach to copyright for musicians ensures all reasonable protections and allows for everyone online to find new ways to use and promote music - what a concept, public promotion instead of A&R departments!

But now anyone can record in their basement, and anyone can distribute online. Anyone has the viral video lottery shot that's probably even higher than catching big with a label. The record labels are surely being propped up by multi-conglomerate properties that form the axes of big media evil that swallow up all that threatens their dominance. There is no reason to think that band who can sell 2000 copies of a CD at $5 online would be any worse off financially than selling 20000 copies for a major label. The abusive Chris Brown sold tens of thousands of copies of one song because of its misappropriation in a YouTube wedding video. Record labels sell dreams of celebrity that are slimmer than becoming a professional athlete.

Myth Four: Harsh copyright punishments will deter P2P theft

Harsh copyright punishments will infuriate half the population who uses P2P for downloading copyrighted and legally-shared files.

To use an analogy, the Queen Elizabeth Way highway between Hamilton and Toronto has a posted speed limit of 100kph. When traffic is not bottlenecked, cars in the fast lane average 120kph without repercussion because EVERYONE in that lane does it. Doesn't necessarily make it right, but if the speed limit went up to 120kph, I bet the real speed would jump to 140kph. Drivers feel that they can drive safely above 100kph and, when weighing the value of the speed to their destination above the relative inability of authorities to choose to enforce the law, they choose to continue breaking it. Downloaders access copyrighted files for free because they don't feel they get value for the $15-20 they are forced to spend on a CD when they've only heard one song on the radio, television, YouTube, or Blip.fm.

Myth Five: ISP throttling of bandwidth is a logical way to deter pirating

Let me borrow another analogy. In Miami, 90% of all open sea drug smuggling occurs via speedboat, although all speedboats used for smuggling only account for a minuscule fraction of all the speedboats in Miami. The US Coast Guard decides to ban speedboats from all waters in Florida and only authorizes former speedboat users to travel in canoes. 

Sounds ridiculous? 

This is exactly the logic that ISPs are using when throttling an internet users traffic just because they use a Bit Torrent client. There is no sense in the idea that because pirates use Bit Torrent clients, that everyone who uses a Bit Torrent client must be a pirate. To allow ISPs to throttle on the basis on a type of software is unfair to consumers and, most often, not ever told to the customer.

And this analogy is especially ridiculous if you believe the ISPs are throttling to protect copyright. Their prime motivation is to save bandwidth for themselves so they can nickel and dime customers that are bound their CRTC-enforced monopolies.
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That's my two cents on copyright reform, which is probably more than a musical artist signed to a major label makes when I buy a copy of their song on iTunes.

thinglets: The New (non) Face of the Earbud Orator

There is nothing so special in society as the charismatic orator. For entertainment and education value, the orator can stand on the stage, on the soapbox, behind the mic, in front of the camera, and reach out to one mind or a million. The content appeal and most often the appeal of the orator is completely subjective, yet the quality of certain individuals isn't lost on masses.

The practice has melded from the ancient to the cutting edge. From Greeks standing in front assembled crowds to podcasts that receive tens of thousands of downloads a day, the orator has moved from the floors of democracy to the warm glow of an LCD screen. And in so much I enjoy podcasts of people interacting, discussing and dialoguing, I hold a fond affinity for the monologue, the rant, and the introspective narrative. From Garrison Keillor to Henry Rollins, from Stuart Mclean to Jello Biafra, from MLK to Bill Hicks, from John Kennedy to Lenny Bruce, the orator has developed and ex panded to suit the needs of audiences and the conventions of the times. (And I'll take the heat here for not including any female examples - my only excuse is for populist impact and general ignorance of comparable pop culture examples, which is a more of a social tragedy than an excuse.)

That the orators of today can hide in a basement behind a microphone may bastardize the centuries-old traditions of standing in front of a crowd and bellowing to assembled throngs, but the intents have not changed: inspire, motivate, educate, even manipulate. Orators try to inspire confidence with confidence, encourage fun by having fun, and move to action by using words as tools - and sometimes weapons.

While some would complain that oratory is a lost art, I often think that, instead, the audiences have lost oratory. For hundreds of millions of people oratory has been reduced to places of public worship - the preacher at the pulpit. The orator used to represent the closest thing to mass media that existed during a place and time. Our attentions have been drawn to flash and pomp and circumstance, yet there's nothing quite the same as a live venue with a passionate speaker, a message, and a desire to communicate. If the ability to experience a charismatic orator live has waned from our consciousness, perhaps some of us have turned to modern substitutes.

I'll be the first to admit that the crowd atmosphere, facial contortions, body language and electricity is difficult, near impossible, to reproduce over a microphone, but remains, noenetheless, enjoyable. Our minds have a boundless ability to fill the voids left without the live experience. The podcaster also has a great strength that is borne on a huge disadvantage. Let's face it; there's little social inhibition in not downloading or stopping and walking away from listening to a podcast. The buy-in on behalf of podcast listeners ensures their engagement and should encourage the content creators. While millions of people sit solemn in houses of worship, there is a stigma involved in getting up and walking out on a sermon.

The faceless orator of portable media devices is not so much the Big Brother or Supreme Sister of the future, but instead a voice of choice, an expert in semantic antics, expressing luminosity in verbosity... and the Earbud Orator shall reign forever... or at least until something cooler comes along... like holodecks.

earbuds

lovehate: Tension and Release in Social Media

fractal

In exploring the archetypes of any media (and especially entertainment media) I like to think that there are fairly common standards in which my emotions are tugged at for enjoyment's sake. Though the paradigm can be exercised in many ways, depending on the medium, I like to simplify the pattern by commonly calling it "Tension and Release".

In music, tension and release can occur in many ways. Sometimes it's a musician simply playing with volume. Think of the grunge standard of the quiet verse followed by the loud chorus ala Smells Like Teen Spirit or Creep. While these examples are very basic approaches to tension and release (T&R) volume, made effective by immediate contrast, slow builds culminating in auditory climaxes have been around from early drumming to classical to jazz to rock. But music also allows for T&R through harmony and dissonance, varying speeds, rhythmic complexity and simplicity, and varying tonal densities. How many people have had cerebral orgasms upon hearing the cutting single guitar bend that breaks through repetitive vamp of a chord progression?

The basic concepts of T&R extend to novels, films, poetry, visual arts, and basically any other sensory media. It's why the action film often inserts comic relief. 120 minutes of non-stop action eventually becomes wallpaper without contrast in the same way that thrash metal bands have to consider some sense of dynamics if they don't wish to become redundant.

So, I ask myself the question. If most (maybe all) of enjoyable entertainment consumption contains T&R, where does paradigm fit, if at all, with Social Media or Networking. While set pieces like songs, films, and novels have, at their core, a sense of time constraint that contributes to the anticipatory set that one comes to the medium with, what which set do we approach Social Media?

The problems that arise in applying such parameters (and I'll fully admit the marriage of this paradigm may seem forced with SM) lie in the multi-pronged creative approach to the content output. It's kind of like a freeform jazz odyssey with musicians from virtuoso's to drunken karaoke performers. But I think the tools have offered some parallels that help to form the T&R of Social Media.

Twitter is the noisy, fast, guitar solo full of notes that run the gamut of multi-octave scales. Facebook is the dissonant amalgam of everything we want and don't want at the same time. Seesmic is the sample ripped from another artist and dropped in to the pastiche of sound. Youtube is the brief respite leaving the cacophony of sound behind for a time... well, to be replaced by other sound anyway. And blogs are the deep sweeping textures and swaths of sound that allow us to escape for periods of time and consume by... reading. How can all of these content creators possibly orchestrate anything so intentional as an artisitic process like T&R? They don't - you do.

In the ultimate vindication of "reader response" theories, we inherently mix or consumption to achieve appropriate T&R. I could just use Twitter all day or watch Youtube clips or sift through pictures of people's kids in Facebook. I can, however, mix and match, often by instinct to achieve the ebb and flow that best suit my sensibility. Because like anything, there is an "artistic" component if you fly high enough or zoom in enough.

And if you haven't bought any of this, consider the experience of reading it nothing more than the the long sustained notes of a Klaus Schulze composition or the outer movements of Shine On You Crazy Diamond. You may now return to the metal solo.

thinglets: Ben Folds... Frequently Bought Together

Ben Folds Frequently

One of the features Amazon has built into its recommendation engine is the "Frequently Bought Together" section that, I'm guessing, is supposed to inspire you to think "WOW! If other people are buying that, I should probably by it too!"

In the case of a recent purchase of, however, (and what I'm sure isn't a rare occurrence) there were two pieces of media that I could never imagine going together... ever. You see, the concept of "Frequently Bought Together" would indicate to me, more than once. Now I could buy into the fact that perhaps no one who had purchased that Ben Folds' University A Cappella! CD would necessarily buy the same second item before leaving Amazon. I more than expected the second item in the side-by-side purchase push to be another CD by Ben Folds or similar genre pounding piano rocker. I was shocked to find out that, as evidenced by the "Frequently" recommendation, the most popular accompanying item was the DVD Repulsion by Roman Polanski.

Ben Folds CD is described as "a great mix of pop-sounding arrangements (with beat-boxing and voices substituting as drums) and more traditional a capella singing (with lovely harmonies, etc.)"

Polanski's Repulsion, on the other hand, "shows us, in simple but effective terms, the horrors that lurk inside a troubled psyche. While obviously working on a shoestring budget, Polanski recreates with disturbing impact the strange and unsettling horror of a mind that has begun to turn upon itself. Carol Ledoux is not on a strong emotional footing as the story begins: she's at once compelled by and terrified of her sexual needs, and she displays an unhappy emotional distance from others that suggests a mild form of autism. When Carol is left alone after her sister leaves on vacation, her fragile connection with the rest of the world gives way, and. as she isolates herself in her apartment, Carol's mind fragments into a hallucinatory state, which Polanski manifests on-screen with an apt surrealism. Within the increasingly grim and shadowy confines of the flat, revolting images of rotting food and buzzing flies mingle with things that shouldn't or couldn't actually be there, and Polanski's impressionistic use of odd angles, visual distortion, and blunt, shocking violence make Carol's world seem as frighteningly alien to us as it must be to her."

Now those Ben Folds haters out there might think themselves clever by saying... "I get it. Ben Folds REPULSES me!" But to use film commercial techniques, I believe I can make the case for the tie...

The new Ben Folds CD is "simple but effective". Its "strong emotional footing" will convince detractors as "the rest of the world gives way". A "frighteningly" "apt" selection that will have an "impressionistic" "impact" all over the "world".