Kanye West, for all his flaws, does not rest on his laurels.
As evidenced by his latest album, self-conscientious may be the best way to describe West. On the one hand not afraid to share his own vulnerabilities, he also has no shortage of swagger, or sense of self-worth. He surrenders his weaknesses, but not his power. He is also a champion of one of hip-hop's most vital characteristics- self promotion. And while his ego may be larger than life, so too is his career. His actions and mannerisms imply he is the biggest deal on the planet... but, isn't he? His public meltdowns are nothing short of nuclear, but always somehow magnetic. And while his Bush/ Katrina observations were unfortunatly inflamitory, they spoke to SOMEthing real, something that was weighing heavily on the American collective conscious. Then as throughout his career, he, simply and honestly, expressed emotion. Shit, that's what we pay him for.
It would be fair to say that Kanye's latest project, 808s & Heartbreak, comes off as one long song. A technotronic experimental ballad, it has such obvious binding characteristics that one might be tempted to write it off as a lazy, thrown together work. And, I mean, you could, but that would just be completely missing the point.
The obvious element of this record is perpetual use of the Auto-Tune/ Vocoder effect. This production instrument has a long history in pop music, but was never so unapologetically embraced until the emergence of T-Pain, who has thus far defined a career with its automated magic. Using it so blatantly opens artists using the effect to quick dismissals by many vocal purists. This, it seems, is like a pianist guffawing the talents of a skilled synthesized keyboad player- to focus completely on the instrument ignores the skill and ingenuity required to effectively manipulate the noise.
By relying so heavily on this sound on his most conceptual album, Kanye transformed the gimmick into a tool.
Kanye didn't need Auto-Tune to make an album- he needed it to make an R&B album.
The first note of the albums spills all of its sercrets; an off-kilter Heartbeat pumps on from first track to last. It inserts readers into the emotion's belly, succesfully dominating mood and ambiance. The consistency of Kanye's stilted, faux-voice has a transformative effect, alternately tugging and striking the heart's every chord. The sharpness of the computer-inflected vocal notes underscore the steady but aggressive pounding of the beat, particularly on the track Amazing, a syrupy, haunted song. But each and every track picks a specific method of heartbreak, be it a blunder or a betrayal. Kanye plays pretty close emo, just by relishing his each emotion so fiercely. He's awful worked up, but if he's worked up than he is of the absolute belief that you should experience his outrage, or hurt. Can't really argue with him, he'd never give you the choice.
Still, the effect and production is almost as if it were a video game roller coaster; you know the reality is virtual, yet the knowledge fails to diminish the capacity to induce vertigo.
West's attitude regarding the record seems to be, “I could shit gold,” but I don't think this is a lazy record. I think it may just be that the young artist has a strong intuition about his abilities. I don't even really think this is up for debate, since he finishes the record with Pinnocio Story, a freestyle seemingly from the time in which he was pioneering his new style.
I think his previous albums were of a more intelectual brand; College Dropout, Late Registration, and Graduation, each make no secret of the educational themes driving his creative evolution. There's a reason this record isn't called Post-Grad. Instead, he has taken the advice of Enter the Dragon- “Don't think, feel.”
He forswore the intellectual pursuit for the emotional one.
The 808s & Heartbreak sound is straight out of Saturday morning cartoons. Beyond that, it sounds like the music you imagined you'd hear in the future. And all these signs point to us actually being in the future. So it's worth considering. Too emotive to pass for simple disco, but too rowdy too be taken seriously, the sound exists in some in-between.
I'm just saying, this is what Mega Man would jam to on his ipod.
I think sooner or later, we will get that Post-Grad album. But this isn't it. This is something new, something different, something Fun. Kanye tooled around with some new toys, and shared it with us. He'll probably end up screaming at someone who doesn't “get” it, another meltdown in the litany for the perhaps intentionally misunderstood creator. Maybe he needs to create demons to maintain some sort of balance, or maybe just doesn't have any. But this sound is worth deciding for yourself on. You may love it, you may hate it, but for better or worse Kanye will have your attention.
As a sports fan lucky enough to be from Boston, in these modern days, I am acquainted with the luxury and spoils brought by victory. And winning is baller.
A championship, even merely spectated, creates a shared experience that serve as validation of the investments of time and mental energy put forth by the rigors of fandom.
It is also a celebration of unity and community. In land where we spend more time griping about our differences than similarities, there are few opportunities to truly share.
And so when the clock struck 11:00 P.M. last Tuesday, and every major network announced that Barack Obama had been called to serve as the 44th president of these United States, the jubilation that erupted in the streets and on the broadcasts across the country was not personally unprecedented. It reminded me, hey, this is simply what it feels like to win.
Maybe it illicits hugs from total strangers. It may boil down to simple eye contact made with another, silently sharing the moment. Maybe you get lucky. Weeping, cheering, dancing, and drinking are all pretty acceptable options. I personally took a hint from Celtics' patriarch Red Aurbach, and coolly, arrogantly lit a cigar.
But the important thing is the embrace of the moment; the assuring knowledge that this is pretty much as good as it gets. The world is so big, and its issues so unwieldy, it is easy to forget the sensation of the good guys victorious.
It took actually happening for everyone to fully realize how much we needed this. The subtexts of this election were extrapolated upon at length, but more importantly than any particular racial hurdle, the country needed to have something “trancendent” to rally around. We needed to feel good again.
Too often, we only really share the negative. We go through economic crises together. We grow weary of our international responsibilities together. We mourn the tragic loss of brothers and sisters together.
Which is funny, because shared suffering makes up the main thrust of sports' fandom.
For years, Red Sox fans understood their lot in life. Ours was a predetermined destiny. We were the “Wait until next year,” team. This was an identity that reinforced itself more and more every year. Every loss, and every failure only dug us deeper into a state of perpetual disappointment and inferiority.
Then they overcame it. The burden was relieved, and a new era began. A new brand, a new identity, and a new perspective was granted. We made it. And due to the many years of suffering, we knew we'd earned it.
And that was what happened. It wasn't that Barack was the Black president. He was the Right president. This was not an apology by the American people to any specific community, or an exercise in affirmative action, or an optimistic roll of the dice. This was an informed opinion. This election does not change American history, but it does change the course of it. Change came to America. While the President-elect has a steep challenge ahead of him, he is only asked what we ask every Head of State; be our best. Represent our ideals, respect our wishes, make our difficult decisions and we will stand behind you.
We vote to select our leadership, but after that we are pretty much spectators. It doesn't mean what happens doesn't effect us, but we have mostly surrendered our power and are in it for the ride. Over the course of a term, or a season, there are peaks and valleys. There are big losses, and minor victories. But what we need to remember is that we are all on the same team. We all want the same things. We want to end up at the same place.
The winner's circle.
There are very few moments that truly transcend the individual experience for the societal one. What's more, when they do happen, they are too often marred by tragedy. But sometimes, if you're patient, if you're lucky, and if you back the right horse, there is a reward at the finish line. Winning feels good. And it's addictive.
Now that we've all voted, we've surrendered any sort of control. Among us, there will inherently be those who will criticize every move- Monday Morning Quaterbacks, or armchair managers ready and eager to discuss shortcomings at length. There will be others who instead defend and rationalize. We will clash and argue about it because we care about the outcome, because it is our only power.
But as we learned last Tuesday, we can celebrate together. Let's hold on to that.
See you at the Inauguration. I'll be the one with the cigar.
Well, we're almost at the finish of this historically historic race. While a large part of the notability surrounding this election is due to the candidates on the ticket, it is also the unprecedented election coverage. If you so choose, or are uncontrollably compelled, you can be tracking this election all day, every day. Personally, I've read the books, kept up with the papers, stayed abreast of the TV punditry, tracked the blogs, and watched the Youtube movement. I've craved every single facet and nuance of this battle for the big seat, and I got it.
And I am fucking exhausted.
I guess it's called "campaign fatigue." It is really just emotionally draining to be so thoroughly invested in something too large to really control. It is a lot like watching a sports team in the playoffs, only there is no looming offseason. Instead, there is an era we will enter, either to move forward or to stay firmly entrenched in where we already stand.
In an effort to calm my nerves, I decided I needed a playlist. It would have to be the kind of playlist you would play in a locker room in the hours leading up to a season-defining game. It would need to cover the gamut of associated emotions, emphasizing the broad stroke, large beats that led to our arrival at this extraordinary juncture. It's time to get psyched.
Start with Nas' latest power processional, Hero. As a nation, we are clearly struggling to nail down our own identity, and if I've learned anything in a lifetime of reading comics, it is that heroes arise from situations of need. The powerful drumbeat of this track pretty much pulls my puppet string, righteously raising my fist to the air. This song is a call to action, inspiring the listener to quit the surrender of apathy, and take control. If I were Captain America, this is the song I would listen to as I pulled the cowl over my head.
Public Enemy pretty much invented political hip-hop, and their track Son of a Bush is a great example of how finely they can articulate a point. What John McCain fails to realize when he says "I'm not George Bush," is that the need for a Democratic president is not solely about the person who has lived in the White House these last 8 years, but also the ideology that drove his administration. Besides, Chuck D. was battling George H.W. Bush on policy twenty years ago, and he was no less pissed at this Bush.
Because what has W. done for us? He inherited a surplus, and squandered it. September 11th earned America, and Bush's White House by extension, an unprecedented amount of international goodwill. However, our reckless approach to the War on Terror, and our bull-headed, independent, uncompromising charge into Iraq, and the travesties of Guantanamo Bay have robbed our nation of the hard-earned reputation of benevolence, replaced with the specter of an unchecked superpower gone mad.
International man-at-large David Bowie understands this, which probably explains,"I'm afraid of Americans."
Our century-long persona as the world's benign protector is forever sullied. We are exposed as being just as petty as any less influential nation, but with bigger guns.
At home, we all felt a huge swell of nationalism and pride in our home when the towers fell. Over time, though, as that fervent passion was turned from a defense mechanism to an offense mechanism, a chasm began to grow within the country. Complex issues were boiled down to bumper sticker slogans, and those who challenged our mutual direction as a country were discounted as an unpatriotic radical. As Green Day put it, we no longer lionized intelligence and insight. Instead, the American Ideal was an American Idiot.
Green Day's "American Idiot," album captured that growing divide, reminding us that it wasn't always like this.
We were powerful, we were angry, and we were on the hunt. But were we right? Were our actions justified? Was this new America built on trust, or had we been mislead and manipulated to whatever ends best suited our leaders? Were there WMDs? Was there an imminent danger? Did we take for granted, maybe, that our Best and Brightest would Tell the Truth?
Immortal Technique, without a doubt, is a radical. But much of what he says rings true. Too often in the cultural consciousness, we lumped Iraqi nationalists with religious extremists. Further inspection proves this to be a fallacy, however, as Technique explains, "Cuz if another country invaded the hood tonight/ It'd be warfare through Harlem, and Washington Heights/ I wouldn't be fightin' for Bush or White America's dream/ I'd be fightin' for my people's survival and self-esteem/ I wouldn't fight for racist churches from the south/ I'd be fightin' to keep the occupation out." Once again, we oversimplified an issue to put our own minds at ease.
We had a chance to tilt the boards, though. In 2000, it could be said, that the American people were robbed. Ultimately, the Supreme Court decided our Chief Executive. Hey, whatever, it happened. In 2004, though, the American people got exactly what we asked for. Probably due to the slogan of the "Wag the Dog," campaign, you don't change horses midstream, especially in wartime.
We were at war with an idea, we were at war with a fragmented nation that was largely rebelling against our occupation, and, due to the deep seeded differences in governing methodologies that bred into hostility during our election, we were warring with ourselves. Eminem's Mosh was a call to arms for those who felt we had strayed too far from our path. It captured the resentment commanded by the actions of our leaders. As a young man, it seemed to distill the singular idea that old men were fucking our world up.
I won't try and speak for all Americans, but after the decision made by our population at large in the 2004 election, I personally felt a disconnect between myself and the national identity at large. It just didn't seem like we shared ideals anymore. And what is America if not a shared ideal?
Then Katrina hit. Perhaps 9/11 was a loss of innocence because we were stuck at home. Outsiders violated our cultural capital, the very stronghold where we felt most invulnerable. Katrina was something worse, though, because in this conflict the only villains were nature, furious and indiscriminate, and the incompetence of those we trusted to protected our own.
If 9/11 was an airborne disease, an outside stimulus that disrupted us to our core, then Katrina was a cancer. It was proof positive of the skewed priorities of our leadership.
Maybe it wasn't true that George W. Bush didn't care at all about black people, but he clearly didn't care enough about the sanctity of American lives. There was a deficit of willingness to take care of our own. And why export freedom and democracy abroad when it was so flawed at home? If ever there was a cause to Riot.
Wyclef Jean taps into the fabricated divisions of our country when he talks about the "rock and roll boys," "hip hop boys," and "reggae boys." We have so much more in common than we have differences, and we need to remember that again. After what we've been through, we need to be the reUnited States of America.
And isn't hopeless. For one thing, for now, the world still looks to us for guidance. Our hold on this cache is loosening, but for now it is still good to be an American Boy.
But we can't afford to take this stature for granted. We have to earn it. It isn't good enough to simply rhapsodize about our own greatness, we need to show it. We can show it through empathy and equality in international policy. We can show it by electing someone that the world has already accepted as an agent of change, and an emblem of a new America.
The international community is aware of our nation's history. While it isn't fair to say that American is a more racist nation than the rest of the world, we are differently racist. A European nation may begrudge its neighbors for age-old digressions. America has to face the fact that all the most prominent, eloquent agents of social and civil change have been struck down by internal advocates of hate. We have to live with that, and it isn't as far back in our history as we might like to believe.
But from the ashes of the failed Democratic campaign of 2004 arose a seemingly impossible figure. He had paid his dues trying to right the wrongs of American domestic policy in urban communities. He had learned the law at our finest institutions, and practiced it capably. He expressed foresight with regards to the war in Iraq. His story was uniquely American, but with international flair. He had seen the effect America had on the world abroad, both because his father had emigrated here to chase the American Dream, and because he was raised in a part of the world separate from it. He knew how to speak to Americans, and he knew how to mobilize him. He was just what we needed.
The political pendulum swung as far right as it could in 2004. Common sense dictated that it would swing back left. Still, no one could predict .
The inspirational message sent by a President Obama is not simply that, hey, look, a black man can be president, too. The message resonates for all those who have been disenfranchised. For individuals, that may mean your experience as a minority. It also might be for those who felt too poor to stand a chance. It may be an immigrant's struggle to feel included in the idea of America. Or a restless American from a small town who dreams of more. The beauty of this campaign is that without specifying any one of these things, it has become about all of them. It is about, in the face of the impossible, saying, "Yes We Can."
I don't know, maybe we can't. Maybe this mountain is too big to climb. If the democrats lose this presidential election, it will be evident that theirs was an impossible task. Obama has run a damn near watertight campaign, and ran against one that seems to mystically stay afloat despite leak after leak. But the status quo is like a heavyweight champ; you won't win by decision, you've got to knock him the fuck out. No matter what, this race has come farther than anyone could have expected two, three, or four years ago. It has come to mean more. It has proven we are much closer to the future than we ever had right to believe.
Personally, I would just like to put this embarrassing era of our history to bed. I would like a loud statement that punctuates our new chapter. I need the breathe of fresh air this election could elicit. I want this period Dead and Gone, and near as I can tell, Obama is the only way.
But any playlist needs a killer finale. I'm not sure what it is yet. I know what I want it to be, but it isn't for me to decide. It comes down to-
Fantasy sports are just fun. If you like sports, it is only natural to think that you have some sort of extra level of perception when it comes to what makes good teams good, or bad teams bad. Fantasy allows you to put your money where your mouth is, and often times people who feel pretty smart turn out to not know jack shit.
Luckily, whether you are good or bad, you can still enjoy the process of owning a "team." Look at Mark Cuban, Daniel Snyder, Jerry Jones and of course, Al Davis. Winning is not half as important to any of those guys as the "I'm the most important guy in this room," swagger they are afforded by being the breadwinner for a shitload of athletes.
Well, in my fantasy league, I think I can be as self-important as I feel. When I made a franchise-overhauling move this week for my football squad, "Manny's Revenge," I took the opportunity to break the story with the same urgency and style the Associated Press might.
PRESS RELEASE/ BREAKING NEWS!!
The bottom-dwelling Vengaza de Manny has agreed to trade golden boy Adrian "ADP" Peterson, the most electrifying back in modern football, to Koko's Monkeys for WR Randy Moss and RB Darren "Dmac" McFadden. The exchange is unprecedented in the ten years of The Concord Crew league, with this year's number one overall pick being exchanged for last year's number one.
Vengaza owner Brendan McGuirk had this to say, "While we regret our own inability to build a winner around ADP, we are more than pleased to welcome Randy and Dmac to our organization."
He went on, "Last year, there was a lot of controversy regarding our selection of Adrian over other valued rookie backs, such as the much-lauded Marshawn Lynch. We have been nothing but pleased with the selection, and wonder, if we had been as savvy with our other picks in both that year's and this year's draft, we would be forced to make such drastic measures to assure the competitiveness of our franchise in years to come.
Darren has looked great at times, and we sincerely hope that he fulfills his potential as a dynamic NFL running back, despite the handicap of playing for Al Davis."
McFadden had this to say, "Yeah, there's definitely some pressure on me now, 'cause those are some big shoes I've gotta fill. Hopefully I get this turf toe straightened up, and we can finish out this season on a winning note."
No small part of the deal was the inclusion of the enigmatic Randy Moss, who declined to be interviewed. With Vengaza fans forced to say goodbye to their fan favorite back, the franchise front office types sincerely hope that the crowds can find some solace in cheering on the "real 81," when ADP inevitably has his next 250 yard, 3 TD game. Owner Brendan McGuirk is apparently optimistic, as he has already bought the wideout's jersey.
In addition to the players included in the deal, Koko's Monkey's owner Samuel J. Gould has also agreed to exchange next year's 6th round pick for the 8th round pick of La Vengaza.
A team spokesperson summed it up with this, "It's such a competitive league. You think you have a solid draft, you take some risks, and they don't pan out, Boom, you're 1-6. It isn't easy to let a player go when you know how dominant he will be in the future, but sometimes you have to roll the dice. We wish him the best, and hope he finds a winning environment. And a new Offensive Coordinator."
So I recently picked up the new Nas album. It is a profoundly political album, even for an outspoken guy like Nas. He digs his heels in the sand, and really takes a stand against what he sees as the rampant injustice we have come to accept as the American way.
For me, he really hit the nail on the head with “Black President.” It is a song that is both personal and inclusive, and my immediate reaction to it made me realize what a personal crisis the prospects of this election have become. I've gone all in. I like to think I did the research, but the fact is my vote was cast long before this race even started. So when this song combined Barack Obama, John Legend, and a Tupac hook, I was pretty much floored. For better or worse Tupac is the preeminent messianic figure in hip-hop, and his inability to be tarnished is one of those things that will stay with hip hop forever. It also explains why there will always be new Tupac tracks. I was a late-comer to the magic of Tupac, too late, in fact, to fully appreciate the rapper while he was still alive. But, hey, cut me some slack; I was eleven.
It was the postmortem song “Changes,” that eventually brought me into the Machiavellian fold. In particular, it was the line “Though it seems heaven-sent, we ain't ready to have a black president.” I learned later that this line was actually lifted from the track “I wonder if heaven got a ghetto,” but the starkness of the lyric was nothing less than revolutionary to my young brain. The world I knew was rife with injustice, and one of the greatest injustices, to me, was not only that we were yet to see anyone but wealthy white male presidents, but that the prospect of anyone other than that taking the big seat in the Oval Office seemed less likely that a Tupac resurrection.
The inclusion of this lyric as the chorus had my attention. Further, using Barack's own voice brought an urgent immediacy. There are only two short clips of his voice used; a forceful cry of “Change the world!” and “They said..” There is no reason to ask who “they”, are, because we all instinctively know. Even my eleven year old brain understood that “they” were the ones who would never allow for any significant changes in my lifetime. “They,” are the voice of pessimism that damn our expectations before we can even form them.
Nas' song shows us that we've come farther, faster, than we had any right to expect. But with that progress comes the anticipation that builds with hope.
Soon, this race will end one way or the other. Depending on November 4th's outcome, my memory of this song will forever be either eternally inspiring or equally damning. Personally, this election has become the most significant time in the American narrative since September 11th, 2001. A generation's entire faith in the competency of the system hangs in the balance. So Election Day 2008 will either be one of my proudest, or most disappointed days as an American. There is no middle ground. There is no "Wait until next year." We are either going forwards or going backwards. There is no in between.
Nas' creative sampling and alluring snare brought out a lot of things I want to believe in. But it was actually not this particular song that I felt presented the most convincing argument in settling this matter. All in all, a song called Black President is nothing if not biased.
No, it was actually a song called "We're Not Alone." It is mostly about togetherness and stuff, but it also is kind of about aliens. All the sudden, I stumbled upon the greatest debate topic yet to be raised in this election:
Who would you trust more, if you knew we were going to-
meet aliens?
C'mon! This is a completely valid issue! Why it is a valid subject? We can almost definitely assert what the reactions of both candidates would be!
I promise I'll stop using so many exclamation points, I'm just loud. But lets just postulate how the situation would go down with either of the tickets sitting in the winner's circle.
It's 2012. In the midst of a huge democratic surge, John McCain is facing a second term loss, and Sarah Palin, the national darling of the New York Post and Rupert Murdoch affiliated media, has a 23% better approval rating than Mac. He's old, but not ready to retire.
And all of the sudden reports start flooding in from across the world. South Africa confirm reports of non-humans. North Korea begins insinuating that they have a strategic alliance with the maybe-off-worlders. It all begins to look and feel like the real thing.
And McCain is like What the FUCK?
Because John McCain would be absolutely fucking ripshit if this kind of thing went down and he wasn't ahead of the game on it. Heads would roll. He would be his edgy, ornery self, and finally, we would have to make contact. Assumedly, whether these aliens were malicious or charitable, they would surely be able to organize and try and minimize struggle, and be 'taken to our leader.'
Eventually, someone would have to have a sit down with the leader of the Free World.
McCain would be forced to go in totally blind, all pissed to hell, and not sure if there's a war to fight or if we're about to say hello to our spankin' new energy plan.
And don't forget, it is an election year, and Palin still has that approval rating... and the polls aren't looking good...
So one way or the other, we're going to war. Because A) they might be stronger than us, which would mean we would feel threatened and not know how to cope if we felt rivaled, or, dare we say, dominated B) imagine; there would have to be some sort of magic level super science power source for these aliens to get here. The greed? The need to secure that stuff for ourselves, and horde it just in case something bad happened to it? Like if someone took it without will of the law? Like we do?
There would have to be a war. Because everyone would know that Sarah Palin could be a fine hawkish president. There would be rumblings of how this was just like caribou hunting, leaving out that we could very well be the caribou in that situation. Even a seventy-six year old McCain is way too much of a solo maverick to be thrown out, forcibly retired, for the sake of his party, that he forever regretted placating to garner support in the first place? No way.
So yeah. We'd go to war with the aliens. Maybe we'd round up a coalition of the willing, but probably not. Anyways, I'm pretty sure we'd all be dead. And if Palin were president I think I'd want to be.
Anyway I don't mean to overstate it, but it just seems to me that McCain's temper, and history as a lifelong fighter, would force him to react aggressively, if only out of insecurity. It assuredly would be an insecure situation, and to all of the sudden not have the biggest guns would be extremely traumatizing.
Regardless, the McCain/ Palin White House is not one that fills me with confidence. Especially given the fact that their party has displayed nothing but incompetence during an eight year reign. Besides, McCain would have a heart attack as soon as they beamed him up.
Okay, so what is our other option?
It is 2015 and President Obama has just finished delivering an impassioned speech in front of the new United Nations building on the fucking moon. This is a special occasion, as it is the largest moon gathering yet, the first Lunar summit. Barack Obama has begged the world to invest in itself, and make this station viable population support to our bloated world. Dow is up 3000 points in a day, because investors are so confident that this will be the next sure thing.
But as he is finishing his speech, the room shakes, and all the sudden; mother fucking aliens.
I curse because, frankly, aliens are worse than monsters we make up. Monsters are mostly things that are human-ish. They play up some aspect of our own character. Aliens are the freakiest because they wouldn't necessarily have anything in common with us, we could only hope that they did. Anyways, getting back to it-
Aliens say blah blah blah, we're here on the moon because we knew there would be a shit-ton of your world's leadership. They either go "We're here to fuck shit up," or "Hey, we're cool, do this and we won't fuck shit up." Pretty much, it's one or the other.
How cool about this would Obama be? How many Independence Day jokes would he make?
The UN elects Obama to represent humanity in the negotiations. There are meetings, further summits, shows of strength, goodwill tactics.
We work with them. We assess their strengths, see what they have to offer, and determine their threat level, as well as our defensive options. Do we have the capacity to prevent them from doing anything? Do we have anything they want or need? Do we have a bargaining chip? Because I bet to shit they have some awesome power supply.
And all the sudden we're in business.
Like in every sprawling alien blockbuster, we would be united as humans, either against a common cause or greeting a new ally.
And I think we all know that Barack Obama would make a better leader in that situation.
The reason Hollywood types are against the McPalin abomination ticket, and for the ObamaNation nomination is that they know which movie you'd put each pair in. One would be about human incompetence and incontinence. The other would be about our potential, and maybe, the Audacity of Hope.
Look, I harbor no delusions that the scenarios I described were either fair or balanced. They where, however, culled via the narratives each campaign have presented. At the very core of their theses, the candidates put out two sentiments. McCain harps on the negative; on the dangers of inexperience, the threat of over-taxation, the prospects of imminent doom.
Obama takes a different stance. He paints a portrait of the world as it should be, of hope, of prosperity, of progress. All John McCain can do is point out the failings of man, while Barack reminds us of or potential.
This is not meant as a disrespect. McCain is merely a 20th century leader, and thus has only 20th century solutions. Aliens, globalization and world-flattening, and new energy are 21st century problems. We need an internet-savvy intellect with a grasp on what has caused the problems have plagued our past. We need a 21st century leader, who has shown the ability to mobilize, communicate with, and lead this generation. There is no need to fear the problems of yesterday- we need to fear the problems of tomorrow.
That is the heart of the matter. Ultimately, this is a question about the future. It isn't so much about the problems we know how to face, it is about those unknowable problems we must steel ourselves for as we stare down the barrel of the 21st century, and how we determine America's role in it.
John McCain might have the previously established credentials to be President of the United States. But that is no longer good enough. You have to be President of the World. And that is a job that Barack Obama has prepared himself for.
As with some other recent posts, the following is an interview I did with formerCable/ Deadpool artist Reilly Brown after NY Comiccon '08. I was a really big fan of his run on the book, especially when the Cable character left the book, leaving Deadpool unencumbered to be insane. Unfortunatly, the book was not a commercial giant, and was canceled with issue #50.
But as so often happens in comics, it was when the cancellation was pending that the creators were allowed to take the greatest risks. Writer Fabian Nicieza teamed with Brown, who actually took plotting duties the last two issues, made sure the book went down swinging. The last storyline interwove Dr. Strange, the Fantastic Four, the New Avengers, Wolverine, T-Ray, Ka-Zar, and even symbiote-addled dinosaurs in a blaze of broo-ha ha in the classic Marvel style.
Anyways, the last story was probably the best of that entire run, and I had to talk to Reilly Brown about it. It wasn't published at the time, as intended, but given the new cache the character is enjoying via his Secret Invasion- assisted reboot, it is worth revisiting.
Brendan: So Reilly, you came onto Cable/Deadpool with issue #38 I think? What led to you landing that gig? Were you just the first guy who raised his hand?
Reilly Brown: Actually my first issue was #28, then I came back on after the Civil War tie-ins and stuck with it till the end with the help of Ron Lim and Staz Johnson filling in on a couple of issues.
The only Marvel project I'd done before this was the 2005 Holiday Special, and I think they chose me for C&D for the same reason the chose me for that, and that's my ability to draw both action scenes, and more light-hearted scenes. Some people's styles lend more to one type of story over the other, but I can move between both pretty seamlessly, and that was obviously pretty important when your stories switch from political espionage to binge drinking and Maude marathons every other page.
Brendan: Was there any particular challenge in taking on a two-star buddy book? Did Cable and Deadpool need separate trailers?
Reilly: They had separate trailers just to keep up appearances, but I swear they only used one. Usually Cable's because Nate couldn't stand Wade's taste in drapes. He can be a real bitch sometimes.
Heh, but no, other than that there wasn't really any challenge to it.
Brendan: Did you chose any particular artists takes as influences for your vision of each character? Each one's original design is so strongly connected to 90's sensibilities, I feel like they have both been reinterpreted an inordinate amount of times, was there much room for interpretation?
Reilly: Cable's had the most reinterpretation over the years. I think mostly because some artists were sick of drawing all his crazy sci-fi weapons, which are at the same time an unavoidable part of his character, so he's been through several character designs. I think my biggest influence for drawing him was John Romita Jr., because he gave him this larger-than-life, solid, blocky look that I think works really well for the character.
Deadpool's costume has barely changed at all over the years, with the possible exception of a green mini-skirt. The only things that changed about him were his weapons and belts and things, which he'd change depending on the situation he was in. For Deadpool my main goal was to give him smooth movements and and more animated attitude so that he'd be a good foil to the solid, grim Cable.
Brendan: Would you agree there is more Eastern influence in your work than other superhero artists? It seems like there is something about your economy of line that resonates that way.
Reilly: I definitely draw influence from comics from all over the world, not just America. Ever since Japanese comics became popular over here in the 90's we've been seeing more and more artists influenced by them, and honestly I don't think it's even a unique thing anymore. A lot of artists who've become popular in the past few years, such as Mark Brooks, who launched Cable and Deadpool, or Paco Medina, or Jim Cheung all have very strong Japanese influence in their work. As an artist, when you read something like Ghost in the Shell, or Bleach, or Air Gear it's difficult not to be influenced by it. You'll see more and more of this in the future as younger kids who are just learning to draw are reading things like Naruto.
So, to answer your question, I'd say I have more Easter influence than older superhero artists, but not not necessarily more than the newer guys.
Brendan: We talked a little about this, but I really just like that you kept the stocking look on 'Pool's hood consistent. It's just funnier when it looks like that!!
Reilly: Thanks! That's just the way he looked when I got him, and I liked it because it made him look a little more unique. Brendan: Did you enjoy the move to a solo Deadpool book? It was pretty irregular to have the titular character on the book, y'know, lacking in the book, "X"ed out or not.
Reilly: Hah, yeah, honestly I kind of did! Deadpool was just a lot more fun to draw than Cable was, and I liked having the opportunity to flesh out his supporting cast a bit, since so much time had been spent on Cable's. Brendan: So how did you come to write the last two issues of the series?
Reilly: Fabian was busy with a lot of projects and had to drop something, and since this series was ending anyway it just made the most sense to drop this one. So, since I knew that Nicole would be looking for a last-minute new writer, and since I knew more about the series than almost anyone, I figured I'd put a pitch together.
They seemed to like it, so we went from there! Fabian stuck around and did most of the dialog, which was good because it kept the characters sounding consistent.
Brendan: Judging just from the story, it seems like you enjoyed the pitching process. Seems pretty hard to not have fun in the Savage Land. Are you looking to do more writing? Reilly: I am, but I'm not interested in writing a story that I don't draw. I'm not interested in being solely a writer.
I've pitched a couple of mini-series, which haven't really gotten very far. It's tough to fit new series' into the publishing schedule, and I expect that it'll be a while before I get the chance to write my own stories again, but we'll see what happens.
Brendan: Tell me a little about you story in Hulk vs Hercules: When Titans Clash?
Reilly: Well, it's all one story. There's just a bunch of different artists in it. The whole story is a flashback issue as Athena tells Amadeus Cho (is he still called Mastermind XLO?) about a meeting between Hulk and Hercules. As the story changes location, the artists change, so the visual differences aren't distractingly abrupt. My part of the story is the part that takes place in Olympus, which is about 20 pages or so, so it's the longest scene.
It was a really fun story to work on, Greg Pak and Fred Van Lente know how to write a fun, exciting story, that's for damn sure. And man, the script was brilliant! They referenced everything from classic Marvel character designs for the Olympians, to Ancient Greek weaponry, to YouTube videos of fighting moves-- I swear they spoiled me!
Brendan: Between that and Deadpool's world tour, you're drawing every character in the Marvel stable. You got anything coming up you want to talk about?
Reilly: Hah! Yeah, I think Ghost Rider's the only character I haven't drawn yet. Actually, I'd love to draw Dr. Doom or Magneto. Just a hint in case any editors are reading this.
Currently I'm working on New Warriors #13, which is a lot of fun. It's got a lot of big robots in it, which are always great. And I also have a short story in the Takes of the Starlight Drive-In OGN coming out from Image in June. We'll see where I'm off to after that.
NOTE: A few months back, (okay, a lot of months back), I got the chance to catch up with cosmic guru Jim Starlin about his foray into the intergalactic, Mystery in Space. Through a not dis-series of flubs, that article was never published as intended either. Still, it'd be a damn shame to waste a conversation about comics, though, so here it is; represented for the first time.
Jim Starlin has been telling grand cosmic stories for over thirty years. He has told Weird stories, stories that reach into Infinity, and even killed a Robin. It was no surprise when he lent his hand to tell a Mystery in Space. The project was originally slated to be an Adam Strange story, but when the character became unavailable due to usage in 52, Starlin adjusted. He dusted off the forgotten Captain Comet, and set out to revitalize the character. He dropped the “Captain,” (because hey, that character never truly earned his standing as a captain), and started the story in the most unlikely way by killing the main character. Death was just the beginning.
With the release of the Mystery in Space collection, we took the opportunity to catch up with Jim, and get his thoughts on the series.
Brendan: What is it about the grand cosmic scale that attracts you? You have such an open tapestry, does that few degrees of normalcy you remove the audience from make it more difficult to tell a human story?
Jim Starlin: Sometimes it's better to write around an idea, rather than hit it on the head with a hammer.
Brendan: You got a chance to revisit Hardcore Station, as well as the Weird. What was it like to return to characters you created? Was there a different voice you had to adopt, given your distance from the characters?
Jim: Hardcore Station was a locale just crying out to be utilized. As you know, Mystery in Space was originally intended to be an Adam Strange vehicle. In the end, I believe, it played out better this way. Hardcore worked well as a substitute for Rann. Max and Eye were just frosting on the cake.
The Weird was another matter entirely. I'd been lobbying to bring him back and had a fairly good idea where I wanted him to go. His rather tenuous relationship with life and death gives him a half-a-bubble-off-plum quality I was looking forward to writing.
Brendan: What were your thoughts on Shane Davis, and his work on the series? How did you feel Ron Lim did as a "closer" for the series?
Jim: Shane gave the Comet series a wonderfully dark attitude and set the tone for Tyrone marvelously. When we started off, the contrast between his art and my own set a nice space between the lead feature and the back up. They were linked, but both series stood clearly apart. Though it was never planned, Ron Lim's entrance into the project couldn't have worked out better. As the story reached its climax and merged into one tale, Ron's emulating Shane's style bought the Comet series closer to the Weird's visual path. The final issue may not have worked out as well as it did without Ron at the art helm.
Brendan: This book offered the rare opportunity to dovetail backup stories into your lead. How did you approach that structurally, and do you feel like it worked out?
Jim: I'm very proud of Mystery In Space's story structure. It gave me the chance to travel the same path in two very different fashions. Comet was straight-up storytelling. The Weird was experimental freedom. I think the two styles dovetailed into each other quite well. I've an up-coming project which involves both Comet and the Weird, plus Adam Strange. I'm greatly looking forward to playing with the storytelling on it also.
Brendan: The backups also afforded you the opportunity to draw your own part of the book. Eventually when these stories intertwined, you even collaborated on some pages. Did you enjoy that opportunity to jam with other artists?
Jim: It's wasn't quite the collaboration you'd think it would have been. By the time Shane started drawing the first issue of the Comet story I was in the middle of writing and drawing the fourth or fifth installment of The Weird. Right from the start, poor Shane had me bugging him for character designs on characters that were to first appear in his storyline. It all got rather confusing at times. Plus, when Ron finally got to drawing his part of the last issue I was already deep into The Death of the New Gods. Had to pull myself out of that head space and come back to a project I'd finished with months earlier. But in the end it all worked out quite well. Guess the Force was with us.
NOTE: A few months back, (okay, a lot of months back), I got the chance to catch up with upcoming Rage of the Red Lanterns artist Shane Davis about his last foray into the intergalactic, Mystery in Space. Through a series of flubs, the article was never published as intended. It'd be a damn shame to waste a conversation about comics, though, so here it is; represented for the first time.
Mystery in Space took the relatively low-profile character of Captain Comet out of the pages of the wildly successful 52 series and put him in a solo adventure full of intrigue, corruption, self examination, telekinetic future mutants, and talking dogs. The Jim Starlin collaboration also gave fans their first monthly opportunity to check out the work of artist Shane Davis. Refining a jagged style perfect for moody action stories, Davis proved up to the task of handling monthly chores, and was only taken off the book in order to work on the high profile Lightning Saga crossover in the pages of Justice League of America. With the release of the Mystery in Space trade paperback, as well as the solicitation for Shane’s upcoming Superman/ Batman story arc with writer Michael Green, we took the opportunity to get some final thoughts from Davis on the science fiction escapade.
Brendan: Your story was ultimately about building a better Comet; how did you set out to achieve that? Besides a younger, more action ready body, how is the character different that the previous iterations?
Shane Davis: Captain Comet's back story was that the character left Earth because he was so advanced he didn't fit in. Going into this project, I felt he should have an almost alien feel. He also has the ability to teleport. Tackling that, I wanted to give him an organic teleportation effect. For example, I love Nightcrawler and that "bamf" effect. So I went with lightening, which is also related to the characters telekinetic comet field. The discs on his outfit were added there for this reason. As well as, the addition of the strip down his spine to visually link it to his nervous system. Brendan: This book was clearly more of a sci-fi book than a superhero one. When last we spoke, you talked a little about how you tried to emphasize that aesthetically, but specifically, what sort of visual tricks and cues make one genre different from other? Shane: I went in saying it had to look sci-fi and not just like superheroes in space. Looking at a lot of sci-fi movies and games, I noticed scale played a big part in creating that feel. I tried to incorporate that scale into the project, and still find myself using that process in my current project. For example, with the space station I had the idea to have a star/sun in its center. This was to show that this civilization was advanced enough to harvest a sun and use it as a weapon. Major praise goes to Bob Schreck and Brandon Montclare for allowing me to do this!
Brendan: This series marked your first opportunity on a regular assignment. Not only that, but it was a launch of a new title. What sort of challenges did that pose, and what do you feel you got out of it? Shane: I was thrilled at first to have an almost clean slate. I ended up putting a lot of heart into it; possibly too much at times. The biggest challenge it posed was to need to see things in a different perspective. Not only were the characters being updated, the whole environment needed to feel sci-fi, yet still believable to the audience. The majority of this updated transition sat mainly on Comet's design. What audiences may accept or would want to see today. Imagination was key!
Brendan: Working with Jim Starlin, did you notice anything different in working with someone who is both a writer and artist? Did it make his script any more or less specific?
Shane: Jim is a great storyteller, in my opinion. There was nothing visually confusing about any of his scripts. This made storytelling more fluid. You can really tell that he had the visual in mind while he was writing it.
Brendan: With Mystery in Space, you were sequestered to your own corner of the universe. Your upcoming work will be on Superman/ Batman, two of comics' most recognizable icons. What freedoms are you afforded in the relative obscurity that the spotlight doesn't allow? Shane: I have had to do variations on their costumes for story moments, so I've had a few chances to play with their costumes. Superman and Batman are icons, and altering the basic design is just wrong. You really can't design them better, so I went in knowing that. I don't expect people to love me for the variations, but hopefully they’ll say that I did them well with what I had to do. In their normal gear, your liberties lay in interpreting the basics. The attitudes and contrast in their capes. The fact one wears a mask while the other takes off glasses is priceless. It's all contrast when you get these two together. It is for me, at least, especially when dealing with postures and shadows. I definitely have been leaning towards the creepy Batman. However, even though drawing these two icons is fun on its own, Comet offered a liberty of interpretation that is not all too well accepted when messing around with Batman or Superman.
After a time of tumult and incongruity, I've managed to stabilize as a writer, and get some good work done. Here are some links to my more recent work.
I talked to versatile writer G. Willow Wilson about her new Vertigo series, AIR. She seems to have a really unique world perspective that makes her a valuable voice in the sometimes homogeneous realm of comics.
Another year, another San Diego Comiccon Exclusive announcement. This time, it was my buddy Frank Marrafino's new Vertigo mini-series, Haunted Tank, with art by Henry Flint, (whose Elephantmen work has been a real favorite of mine). Like any Vertigo series worth it's salt, this revival looks to be as provocative as it is timely.
It was a season of revisiting, so, with the release of their new fantasy book Madame Xanadu, I caught up with writer/ artist Matt Wagner and artist/ writerAmy Reeder Hadley about progress on their new title. They were both great, gracious subjects, and after having seen that book develop over the course of a few years, I was amazed at just how well executed it all was.
It was also time to close the book on the modern masterpiece that was All Star Superman, so I talked to artist Frank Quietly about his experience on the high profile success. After getting my journalist career kick-started with the great Scot, it was very rewarding to be able to reconnect.
Did some reviewing in the last few months. Here's a quick wrap-up;
A major issue for me, both as a critic and as a member of the comic-reading community, is the blind distaste for anything that could be labeled an "event." All an "event" comic is is a marketing tool, a brand, that publishers with a large output can use to really throw their weight behind a particular series. They are not inherently good, or inherently bad; like anything, they come down to execution. Brian Bendis' Secret Invasion maxi-series is no different. except that he has his own books to use as support for this ambitious story.
Sometimes, as a reader, you get lucky. And lucky is exactly how I felt when it was announced that writer Matt Fraction, (who I have often accused of stealing my 'look,' particularly when I was Ritchie Tennenbaum for Halloween), would be supplementing the ongoing Thor series. A favorite writer tackling a favorite character is a joy unique to comics, and when Fraction tapped Beta Ray Bill to be the bridge character for the Secret Invasion: Thor miniseries, I couldn't stop talking about it.
It was Fraction and Ed Brubaker's departure from the Iron Fist title that demanded I check in on how it was handled by the subsequent team of Duance Swierczynski, Travel Foreman, and Russ Heath. It is never quite fair to compare one or two issues to a sum total of a successful creative run, but I think I gave a fair benefit of the doubt.
Phil Hester is immensely talented, and it was on his reputation alone I gave the El Diablo mini a shot. I wasn't disappointed, and writer Jai Nitz has had the kind of career that makes one hopeful that paying one's dues pays off. I don't think this series will be the book that makes him a viable option "big-time" writer in comics, but it is exactly the kind of book that can prove to an audience that you have the talent to hang in the industry.
As a writer, I can think of no more daunting task then following Alan Moore on a project. That's like having George Carlin be your warm up the audience guy. But that was the task for Zander (and, though I dropped the ball on it, also Kevin) Cannon, who did plot, script, and layouts on the new Top Ten: Season 2 series, with artist Gene Ha! Again, this is no small task, but they do a very commendable job.
I was a huge fan of the Oni OGN Labor Days, by Philip Gelatt and Rick Lacy. There were some serious philosophical questions it laid out, which really surprised me. It reminded me of I Heart Huckabees in that way, which I dug.
I was really excited to do this solo feature on Final Crisis: Rogue's Revenge #3, by the slick Flash team of Geoff Johns and Scott Kolins. To be perfectly honest, I was more satisfied with the way this review came out than almost anything I've written. Things that I had wanted to say about Johns for a long time just sort of coalesced when I wrote this piece. But, that said, it is a lot easier to write a good review when you have a great subject.
Most recent was this review of Jeff Smith's Bone follow-up, RASL. I don't know what it is about the medium, but parallel worlds are an awful prevalent subject in comics. Smith really knocks this one out of the park, and I'm sure that when the project is complete it will be a new classic.
So that's the wrap for the last few months. I'm looking forward to trying out some new critiques on this space; from book reviews, to movies, video games, and really whatever comes up, it should be a good exercise in talking about what's good and bad.
I'm nothing if not a person who loves to talk about what he loves.
So I do a little writing. You may be the type who does a little reading. We should hang out sometime, and swap skills-
My first published work. Frank Quietly, or Vin Deighan if he likes you, was a phenomenal interview. It took a little time to get done, but as he consistently proves, quality can take time. I sorta flipped when it got linked to by The Beat. Shout out to DC/ Vertigo's Brandon Montclare for hooking up an intern with a big-shot.
My first batch of reviews for PopCultureShock. I worked with these guys for a while, and there was nothing like having a stack of eleven unread comics awaiting judgment. Adan and I would go on to debate the merits of Marvel's Civil War for, well, ever. I can't believe I held off without a Confessionjoke. I must have been nervous about first impressions. Well, these are my Confessions. Shout out to Laura Hudson for finding other stuff to do, and freeing up the roster spot.
The stalled This is Why They're Hot series of articles, where I try and reverse engineer what makes comic writers successful based on their earliest, most complete work. I had really high hopes for this concept, and hope to find venues to continue the exploration. I started with the most mysterious man in comics not named Alan Moore, Warren Ellis. I also ended with Ellis. Again, look for this concept to be retooled and re-upped. Adan Jimenez gets the props here, for editing this document during rush hour at a comicbook store on a Wednesday.
We sent that series off in style with the massive and all encompassing BLAAPPAS Finale. This was all of our favorite comic of all time. You may have picked up, but I like telling people what I like, especially when its friggin' awesome.
Talk about the right book at the right time and you get quoted in press releases, like I did for Halo #1. As far as I'm concerned, if Marvel posts my writing on their website, then I have written for them. Don't argue semantics with me, Quesada, just CTC.
I'm going to be one of those "I was there when," guys and show my review for Red 5 Comics' Atomic Robo #1. Just a really good comic, and I'm glad it got the much earned recognition with their Eisner Nomination.
Same deal for Johnny Hiro #1. I'm not above wanting credit for being on the ground floor. Fred Chao also was kind enough to throw shout outs me and everybody else who wrote about him in the last issue of the series, so he and his 4X Eisner nominated-ass gets a certified BIG UPS.
My first exclusive! Matt Wagner's Madame Xanadu Vertigo series was announced at last year's San Diego Comic-Con. We did this over the phone, another first for me, and man was Matt Wagner awesome. We shot the shit, and he managed to convince me that somehow Madame Xanadu was, like, really cool. Thats a big deal. Big time shout out to Bob Schreck for introducing me to the comics' legend, and for being one in his own right.
Shane Davis is as good a superhero penciler as there is right now. I think with his latest run on Superman/ Batman everyone is starting to figure that out.
Infinity Gauntlet #1 is the first comic cover that burned itself into my brain, so when I got the chance to talk to writer/ artist Jim Starlin for his work on Mystery in Space, I was pretty geeked. I later got a chance to double dip into the kings of the cosmos with artist Ron Lim.
One of my first reviews for Newsarama and shotgunreviews Best Shots, Greg Pak's Warbound #1. I try pretty hard to give the high visibility comics every chance to sink or swim on their own. It bums me out how indy- cool- intellectual types shit on high-selling books just for the sake of doing it, and it bums me out equally when mainstream readers don't look critically at what makes their favorite books good, or when they just buy slavishly and bitch. The people who run the Big Two aren't idiots, so when they invest resources into stories, it is worth giving them a shot.
I also try and find books that I think have crossover appeal, mostly so my friends who don't read comics will read my reviews. That was the case with this Best Shots Extra for Virgin's Buddha #1. I might have been a little easy on this book just to try and encourage people to try it, but in retrospect the comment listed is right, they should just read Tezuka's version.
I love Elephantmen, and so should you. Pulpy sci-fi and talking animals in a dystopian future. Don't be stupid, read that book.
Again, telling everyone what my idea of awesome is, this time for the Best Shots' 2007 Year in Review-review. Notable is James Stokoe's Wonton Soup, a title that should pop-up on way more radars. The only problem is that when I read something this good, and when the creator is close enough to my age that I can identify his or her influences, I get very jealous. Then I cry myself to sleep. So thanks for being awesome, jerks.
Lastly, last week's Best Shots. My Amazing Spideywas done, in part, because the Newsarama boards can't help but get themselves intensely riled up whenever anyone discusses the recent shake-down to Spidey continuity. Sometimes you have to shake the jar of bees, or, if you prefer, kick the dog with bees in his mouth and when he barks he shoots bees at you. Either way, I think that Brand New Day has been a resounding success, and no matter what a married dude tells you, there is a shitload more hijinx when you're single. Sorry guys, thats the trade-off.
So I think thats most all of the good stuff, and, y'know, some of the okay stuff. Nice little handy list so you don't have to Google me, baby.
That is a lot of Nerd-words, so next time we'll discuss something truly gangsta-riffic, like the Muppets.
Most Valuable Player arguments always come down to unknowable semantics. The award means all things to all people. This year, the most exciting season in what equates to an NBA lifetime, the MVP argument is a four-horse race.
If the MVP is meant to be given to the player most enjoyable to watch, the answer is undoubtedly LeBron James. King James is the most popular kid in school. He's funny, nice to everyone, and, y'know, can do absolutely anything on a basketball court. He's just cool as hell. He's pretty simply everything that is good and exciting about basketball. At 6'8", with rumors that he was still growing, King James is pretty much basketball's Frankenstein.
But- as good as LeBron has been, with his eye gorging 30/8/7 numbers, his team has underperformed. They are the fourth seed, barely holding on to home court advantage, in the lean Eastern Conference. That isn't terribly impressive.
Kobe Bryant is, without a doubt, this season's top performer. LeBron probably represents the potential that make sport so exciting; that future unknown. Kobe, though, is the cat that already did it. Kobe has three rings, and dropped 81 pts, thats Eighty-One Points, in a game. It's basically exactly like J5 said- A rapper is a kid that's tryin' to be the shit/ An entertainer ain't Tryin' cause he already is. Yeah, its pretty much exactly like that.
But Kobe has never won an MVP award before. And much like it was bullshit that ARod won that last MVP when it was a down year for him, there isn't that much separating Kobe this year from last year, or the year before that. Yes, the team is winning more games, and even caught fire as a Western Conference favorite, but that was all due to the addition of the complementary player Pau Gasol. Without that, Kobe's just being Kobe.
The last serious candidate in the race is New Orleans wunderkind point guard Chris Paul. He's done it all; he rescued a franchise in need of a hero, he successfully made all his teammates better, notably with David West enjoying his first All-Star selection, and Tyson Chandler finally looking like the lottery pick he was. His numbers are consistent and staggering. They win out and take the West's number one seeding, given the lack of expectations of winning entering the season, and the phrase, that I believe is copyright pending, "He saved basketball in New Orleans,"and Chris Paul is probably the 2007-2008 NBA Most Valuable Player.
But y'know what? I'm from Boston, and I never claimed to be objective. KG's been the most important and valuable player in all of basketball since the day he was traded to the most storied franchise in sports, and if you don't know that, you aren't paying attention.
The Boston Celtics, who last year set a franchise record with nineteen, that's 19!, straight losses, have the best record in basketball. And they had the best record in basketball the entirety of the season. They were the best team in the game from day one, and no one can tell you it is for any reason besides The Biggest Ticket there is.
Ask a Celtics fan how she felt on Draft-Day; instead of any sort of franchise-saving top pick, the Celts moved some assets to bring in Ray Allen, a pure shooter getting a bit up there in years. Sure, you felt good that the team had gotten better, but it felt a lot like a band-aid/ bullet wound type of deal. I mean, nineteen is a lot of games to lose in a row; it leaves mental scars.
Then KG came to town. And it was good.
With Garnett on the team, there is a trickle down effect to dictate the roles of each player. The Big Three, or the Boston Three Party, will take care of themselves. All anyone else needed to worry about was their individual match-ups.
Board Banger Kendrick Perkins needed only to learn how to position himself around the basket and look for quick looks and clean-up baskets. Smart play got Perk damn near to setting the Celt's franchise record for field goal percentage.
Young buck Rajon Rondo just needed to learn everyone's favorite spot on the floor, and play good, quick D on opposing point guards. He could let his game come to him, and develop his And1 type game.
Former championship player James Posey just had to be a reliable vet, playing starter minutes off the bench, matching up and shutting down players at the 2, 3, and 4, and clocking killer treys.
Sam Cassell just had to keep his eyes towards the floor from summer to winter, awaiting his inevitable buyout and hoping on the championship bandwagon.
Scott Pollard could just be free to be Scott Pollard. Whatever that may mean. The point is that the roles were so clearly defined that the team was loaded for bear. The young guys could focus on getting better and learning from the vets, while the vets just needed to enjoy the ride.
And then there are the other two legs of the Three. Ray "Jesus Shuttlesworth" Allen had to adjust his game the most, giving up a lot of looks and a lot of time with the rock in his hands. He has shined, though, being a constant threat from anywhere on the floor, playing better D, and help D, than anyone expected, and hitting game-winning shots. Not bad for the third best player on the team.
Pierce simply needed to provide continuity. He needed to stay within his game, show off his previously unheralded defensive prowess, score when there needed to be scoring, and bear the load of Mr. Celtic. He paid enough dues on some bad teams, now instead of focusing on beating five other guys on the floor, he need only worry about one, and beat him. Senseless, if possible.
And that's what it comes down to. When you've got The Big Ticket, you don't need to worry. Beat one guy, trust the guy next to you to beat his, and you're going to win. The team trusted that, and the team won. A lot. More than anyone else. Thanks to one guy. That is what my understanding of an MVP is. But I'm just one guy.
