For as long as I can remember, music has been a staple in my life. I loved the radio as a kid, but my real passion for music was ignited when I started digging through my dad's record collection. I fell in love with The Beach Boys, Cream, The Beatles, Hendrix, The Byrds and so, so many others. I started to go out and buy my own records: Blondie, The Cars, Pat Benatar, Cheap Trick and so many others! Every time I got a little money together, it was off to the Musicland at Northtown Mall to get something new. (Coincidentally, I believe that, some years later, Jake Rudh worked at that very store.)
Now, I was already deeply in love with the radio and music, but the real change came for me in the winter of 1983 when a friend handed me a cassette copy of The B-52's Wild Planet. It was revelatory. I had this 'ah ha!' moment. There was all this amazing music out there that wasn't on the radio. There must be more! Turns out, there was so much more. I spent my teen years digging through all of it. Hsker D, The Cure, X, The Replacements, Echo and The Bunnymen, Black Flag, Love and Rockets, Beastie Boys and thousands and thousands of others. I've never looked back. To this day, my love of finding that incredible band, that perfect song has never diminished. So what better place to find myself than here at The Current? A station that has spent more than a decade playing an impossibly great mix of music, new and old.
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However, I want to be very clear that my excitement about coming to The Current is about more than just playing tasty jams on the radio. Sure, that's great, but you can do that alone in your basement. For me, radio is about much more than music. At its best, radio is about connection. It's about sharing that ecstatic feeling of a great new song with people. It's about entertainment. It's about feeling like part of something bigger, an integral part of the community surrounding the station. It's about dialogue and laughter and, well, connection. It's hard to describe the exact feeling I'm trying to convey, but I feel like The Current comes closer to exemplifying everything I've ever wanted out of radio than any other station I've known.
Suffice it to say, I am genuinely thrilled to join this station and its staff, and to become a part of the proud, passionate family of listeners and supporters. Thank you for having me. I promise that I'll do everything I can to promote amazing music, live up to the incredible standards of this excellent radio station and, maybe, even have a little fun.
Brian Oake officially joins his Morning Show co-host Jill Riley on Monday, March 7. Until then, Sean McPherson and Jade (who has been filling in for Jill Riley who is on maternity leave) will continue to host The Morning Show. Listeners can hear Oake on Fridays, 2-6 p.m., and other shifts in the interim as he settles in and prepares for The Morning Show.
There is a word that's been rattling in the back of my brain this year: phantasmagoric. It's basically an illusion that has the appearance of truth but isn't the truth. An interpretation that is created in your own mind that may not exist. The phantasmagoric appear in everyday of our lives, in our politics, in our tweets. It's how we interact with media of all forms from allowing the suspension of disbelief for a town overrun with monster on Netflix or feeling like a beloved musician wrote a song that speaks just to us. Music is its own deception, a 3-minute escape for whatever ails you. Sylvan Esso seems to be contemplating that imaginary space as well. Ideas about authenticity, celebrity, love, music, and self shift and filter over the course of their new album, Free Love.
The album kicks off with a fuzzy tone like a transistor radio picking up a song between stations. The first song, "What If" asks us for that suspension of disbelief (or as singer Amelia Meath said in a recent interview with The Current, "the idea of, like, totally reinventing society") - for us to consider that the end was the beginning or that darkness was light (there's also some references to climate change - which feels especially timely). The song wraps telling us that there are multiple truths that live in our mouth and the "she's coming out." The following nine songs dive into a version of the truth of things as seen by Sylvan Esso. Songs about the world of pop music ("Train" with a sick allusion to the Quad City DJs if I'm hearing it right), the illusions of celebrity ("Free"), admiration and self ("Frequency"), and chasing that high of lust ("Ferris Wheel"), love ("Ring"), and childhood innocence ("Rooftop Dancing").
You can't discuss Sylvan Esso without considering the push and pull of the duo, Nick Sanborn and Meath. This is a musical conversation that reflects and waits and listens. I recently chatted with the band and asked about their connection and Sanborn said that they felt that connection, "from the first time we were on stage together...that kind of conversational connection was the thing that made us want to do this as much as we've now done it in the last eight years." And the conversation is even more lively than on their previous two albums. Sanborn's expressive play tweeks and turns and adjusts to every moment. And just as the pandemic allowing us to have unfettered access to our favorite artists thru home performances and more time on social media, this album brings in that humanity of behind the scene clips and bits of conversation.
Sanborn shared in that same interview that the album could also be about, "being increasingly anxious about the world around you and looking inward to remember when it was really easy to love other people." Maybe that's too simple and too sweet: a world where it's easy to love each other. But that's not a bad phantasmagoric world.
"Dinner in America," written, directed, and edited by Adam Rehmeier, is a movie with anti-establishment anti-social quicksilver coursing through its veins, but at its heart it is a sweet love story, one of the sweetest in recent memory. Sometimes a movie comes along and surprises you. Sometimes a movie makes a poor first impression but on closer examination you realize there's more there than meets the eye. (I have always admired Roger Ebert's transparent review of "The King of Comedy," since it's as much about how he struggled with the movie, and resisted it, but came back to it, hoping to see it in a deeper way). To contradict Allen Ginsberg, "First thought" isn't necessarily always "best thought." By the end of "Dinner in America," I looked back on my initial resistance with a small sense of awe.
Simon (Kyle Gallner) is the aforementioned "pyro," a drifter and bad-boy. He is Middle America's worst nightmare, as the opening sequence shows. He has no respect for anything or anyone. "Blue Velvet" portrayed the beautiful outward face of suburbia. All those flowers and sprinklers and perfect blue skies. "Dinner in America" sees no beauty in any of it. There's a scene where Simon stalks across a vacant lot, all cracked concrete with weeds bursting through, while in the background looms a giant glass office building. The contrast is stark, and says so much. Burn it all down.
After rampaging his way through one random family, he meets 20-year-old college dropout Patty (Emily Skeggs), whom we have already seen at home with her awful parents (Pat Healy and Mary Lynn Rajskub), who treat her like she's a tween. Patty works in a pet store, and suffers constant harassment from two boys in track suits, who taunt her with sexual insults, and repeatedly call her a "retard." (The language is pretty rough throughout, and a tad heavy-handed.) Patty is awkward, lonely, and in a state of arrested development. She secretly loves the punk rock band Psy Ops, and she calls the lead singer, a mystery man named "John Q. Public," her "music boyfriend." Patty has never had a boyfriend, music or otherwise.
Skeggs plays Patty with humor and openness. There are a couple of moments where a smile breaks out on her face, a smile of such glee and excitement it looks like she might burst into flames from the sheer power of her own emotions. Joy is intense, especially when you've never experienced it. She's thrilled by him. She asks him questions, always prefacing it by saying his name. "Simon?" "Simon?" "Simon?" She needs an excuse to say his name. And Gallner is explosive, violent, impulsive, but he's got secrets, big ones. He is an example of what can happen when you try to break free from your conditioning. A sick society creates sick individuals. His response to Patty is organic. Chemistry isn't logical. Chemistry just happens.
At the end of "Bringing Up Baby," just before Katharine Hepburn's ditzy heiress destroys Cary Grant's brontosaurus skeleton, Grant's nerdy professor finally admits what has been obvious to us all along. "I've never had a better time!" he shouts at the woman who literally wrecked his life in a 48-hour time-span. Consider his life before she came along. He was trapped and he didn't even know it. His release from entrapment needed to be as violent as it was. He is shocked by how much fun he had. Romance is great and all, but what's even better, what's even more freeing, is having some fun. Having fun means you don't care what people think of you. Having fun means you are strong enough in yourself to not live according to someone else's rules. Having fun means giving the finger to anyone who tells you to "take it down a notch." Patty, riding shotgun next to this scowling sometimes-scary punk she met just 24 hours earlier, can't keep the grin off her face. She's never had a better time.
The Marginalian has a free Sunday digest of the week's most mind-broadening and heart-lifting reflections spanning art, science, poetry, philosophy, and other tendrils of our search for truth, beauty, meaning, and creative vitality. Here's an example. Like? Claim yours:
At 7PM EST on April 7, tune into the livestream of the 2024 Universe in Verse, celebrating the science and wonder of eclipses, to hear Nick tell the ecliptic story of marrying the love of his life, alongside a constellation of other dazzling humans bringing to life the science of gravity and relativity, tides and black holes, the formation of the Moon and the chemistry of the Sun, through poems and stories that help us meet reality on its own terms and broaden the terms on which we meet ourselves and each other. 152ee80cbc
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