Snobbin: Beautiful Trash in the Pop Culture Gutter

Tony Silver's Style Wars (1983) focuses a tighter lens on graffiti, breakdancing, and subway art than Wild Style. The interviews add realism lacking in that earlier film and provide a more comprehensive focus than its scripted story. However, that film feels more organic because of its less glossy cinematography and the community involvement in its production.  Style Wars includes interviews with graffiti artists and break dancers who champion their art's creative expression and those like Mayor Ed Koch, the NYC Police Department, and disgruntled parents who view graffiti as the destruction of public property. These figures come across as hilariously out of touch, while the artists and their graffiti show the enthusiastic promise of a burgeoning art form.  The soundtrack consists of a representative assortment of classic hip-hop tracks, including Grandmaster Flash's "The Message" and The Treacherous Three's "Feel the Heartbeat," next to songs that j...

The films in Criterion Channel's Fiftieth Anniversary of Hip Hop collection include insightful documents of the early 1980s New York scene. Charlie Ahearn's Wild Style traces the convergence of disparate, yet equally creative cultural strands, including rapping, breakdancing, and tagging.

I never live up to what I expect from myself. I have Imposter Syndrome and Generalized Anxiety. I achieve most of my goals, but I am still unhappy since I do not know when to quit.   I cannot stop comparing myself to others despite different career paths.  I compete with myself as much as others.  I have been teaching five courses per semester at the highest level for years. I have a vigorous publishing schedule that often gets in the way of my personal goals.  I enjoy writing most of the time.  I'm not getting any younger, so I think I might just have to give up. I should settle for what comes and finally write that book.  I will remain tired.   I am angry most of the time. 

When Definitely Maybe came out in 1994, I had not entirely solidified into my 1990s role as a primarily punk music listener. I loved much of what came out that year under the mantle of alternative rock. Cue Mr. T Experience's "Alternative is Here to Stay" for an appropriate soundtrack to the mainstream acceptance of alternative sounds that was foreshadowed by 1980s new wave. I bought records by Pavement, Wilco, the Meat Puppets, Tripping Daisy, 311, Liz Phair, the eels, and many others that popular media tangentially connected to the "Alternative Explosion" if they were not part of specific, related genres.  Oasis's first record was somehow different in my estimation because I seldom listened to other Britpop at the time. However, Blur's "Girls & Boys" and a track or two by Supergrass also caught my attention. There was something more rocking and seductive about their debut LP. Was it more specific rock and roll lyrical subject matter? Trac...

Film Twenty Six: Zebrahead (1992). Anthony Drazan's first film documents the relationship between two teenagers: a Jewish DJ Zack (Michael Rappaport) and a black girl Nikki (N'Bushe Wright) at a high school in Detroit. Somewhat of a Romeo and Juliet story, the film quickly establishes friction, stemming from how others view their relationship. Solid performances and an interesting soundtrack do not help the film's success. Zebrahead is an enjoyable film that could be better if it tied up the loose plotlines and actually developed the relationship between Zack and Nikki instead of attempting to comment on inner-city violence, infidelity, and other social issues.

Film Twenty Five: You Are Not I (1981). Sara Driver's adaptation of a Paul Bowles short story exemplifies her ability to tell a quiet story about relationships and agency as bolstered by haunting imagery from her regular collaborator, Jim Jarmusch. Not that different in tone or pacing from When Pigs Fly , the thesis film was feared lost after her projection copy became unplayable. Another turned up in Bowles's holdings in 2009. The film depicts Ethel's (Suzanne Fletcher) journey as she comes across a terrible car accident after escaping from a mental hospital. Responders at the scene take her to her sister's house instead of back to the hospital. Watch for an absurd or possibly satisfying conclusion, depending on your perspective.

 Film Twenty Four: X-Ray , or The Hospital Massacre (1981). A typical slasher film set in a hospital.