Every day, workers compete in an ever growing labor pool for the same limited number of jobs, jobs they need to be able to survive in a time when the standard of living is going up. The competition only gets more intense when jobs can be exported to other countries or be outright replaced by automation that swaps cashiers with kiosks. In such an economic climate, people need more bargaining power to give themselves an edge up against the competition and sell themselves based on their individual needs and qualifications. While minimum wage policies sound appealing at first, minimum wage hurts people at all stages of their career and ultimately helps the wealthy and large corporations, which is why politicians push for it.Continue reading “The High Cost Of A Minimum Wage Future”
I would have given up on Bebop if it weren’t for Ballad of Fallen Angels. I changed my mind the moment the church organ blared across the purple sunset above a crumbling Gothic cathedral. The beginning of the third act finds Spike, hands stuffed in his large overcoat pockets, walking up the cobblestone street to the lyrics of Yoko Kanno’s ‘Rain’. A woman sings.
I don’t feel a thing
and I stopped remembering.
The days are just like moments turned to hours.
‘Rain’s’ vocals are provided by Kanno-collaborator Mai Yamane. Yamane’s voice fills the air over a scene intercut with the silhouette of a silver-haired figure resting on one of the cathedral’s broken stone pillars, a katana leaning against his shoulder. Continue reading “The Bebop Sessions 03: Ballad of Fallen Angels”
When Fujiko Mine first stepped onto the scene in Lupin III’s ‘Mystery Woman’, she knocked the master thief on his ass. She used her wits to best his plans, see through his disguises and utilized her ample feminine virtues to charm the arrogant womanizer into giving her everything she wanted. To celebrate the anniversary of Monkey Punch’s manga, ‘Lupin the Third: The Woman Called Fujiko Mine’ reimagines and updates the classic from her violent, sexy perspective, adding life to the series in ways unseen since the original hand drawn pages. Like the machine gun blonde beauty, the show is a healthy, vibrant form on a 40 year old body.
Cease what you are doing and gaze at me. Stop everything save for the throwing of your heart.
Much has happened in the decades since Lupin was first put into print and after hundreds of stories, numerous series and dozens of theatrical films, our rogue’s red coat was starting to fray at the hem. Many of Lupin’s adventures featured the unabashed nudity found in M. Punch’s work but few could capture its tawdry, dirty sexuality and Lupin’s borderline sexual predator proclivities. Part of that can be chalked up to the changing of The Times. What was passable in the seventies wasn’t in the nineties and is even more dangerous now. So the tiger was defanged, and turned into a kitten batting at string. The solution was to come at it from a different angle. Continue reading “The Priceless Canvas Called Fujiko Mine”
Know what the key fictional difference between a bounty hunter and a private detective is? A bounty hunter hunts, a detective solves mysteries. One moves forward, the other looks back. Yeah, there are similarities – both live somewhat laterally to the law and use leads to track criminals for profit – but the bounty hunter’s open-ended lifestyle doesn’t accommodate sitting in an office and waiting for a client. Time’s money and he’s got a fistful to make.
Understanding that a story’s potential starts with its character archetypes is crucial to identifying why Cowboy Bebop was able to tell 26 wonderful stories. By laying its foundations on space bounty hunters, Bebop gave itself the tools to create a wide range of rich stories and build a series where most episodes exist independent from each other.
The second part of the Bebop Sessions is about those characters and the storytelling opportunities they provide, so we’re gonna start with two that are integral: Punch and Judy. Continue reading “The Bebop Sessions 02: Freestylin’”
Full Throttle into the Night
To a gravelly voiced narrator and strobing electronics, ‘Outrun’s ‘Prelude’ jumpstarts the legend of the Dead Cruiser, the Testarossa-charged phantom trapped in a time of black shades and high tops and then splits the night in the thunderous crack of lightning. It’s the perfect way for Kavisnky’s 80’s-film-inspired synth-rock ballad to put pedal to metal and throw fire from all twelve cylinders.
But it only sets the stage. With its ambient instrumentation and pulsing beats, ‘Blizzard’ is the cry of tortured souls calling you from the ether. If ‘Blizzard’ is seduction, ‘Protovision’ is salvation. A song that starts with the strong rumble of a motor tearing road towards you, it’s chrome etched in lasers shining under the passing city lights. It’s the theme of a pale rider.
It’s evocative. Through its thick and grimy sounds, only half of the fourteen tracks speak a word but all say a thousand. Listen to ‘Testarrossa Autodrive’, a machinegun spitting race that is every bit as awesome as its name confers or to the digitally-off-kilter vocals of ‘Odd Look’ to see a selection that is varied, thematically consistent but compositionally divergent. As a cohesive work, it’s an album whose every song is another scene in a well-paced movie.
Despite tones dripping with atmosphere, some of its standout songs are the ones with the most explicit messages. ‘Suburbia’ is a laid back rap set against the beeps and bloops of future computers that never came to bear, with winking lyrics including the awesome ‘cut these fools like pizza pies with extra cheese’. ‘First Blood’ stands out as well, with its Rockette-on-a-smoky-stage vibe that could be something straight out of glam rock-opera Streets of Fire.
While the majority of the tracks are exclusive to this album, several have been available since 2007 on Kavinsky’s 1986 LP. They’re great songs rich with texture that shows that his Dead Cruiser concept had been prowling the streets for quite some time. Strangely the only place where it hitches is with ‘Nightcall’, an otherwise excellent song made famous for its appearance in the opening credits of Nicolas Winding Refn’s ‘Drive’ that feels like a congested highway compared to the open-road flow of the rest.
At its most superficial level, Outrun is the soundtrack to a movie that never existed, set in a time that has become more fiction than reality. The truth is really deeper than that. In more ways than one, Outrun- like the red-eyed teen at its center- is a specter from long ago, haunting the asphalt of today.