Culture Feature

America Is the Fire Nation from “Avatar: The Last Airbender”

And Zuko's arc represents transformation from complicity to active allyship.

Photo from: Avatar: The Last Airbender / YouTube.com

Addicted to an illusion of its own greatness. Motivated to violence by the belief that the rest of the world would benefit from colonization. Willing to go to war to achieve its goals.

These words could describe America. They could also describe the Fire Nation in Avatar: The Last Airbender.

Avatar: The Last Airbender is a kids' show that aired on Nickelodeon from 2005 to 2008. It tells the story of a world of four nations, each with sovereignty over a specific element: Earth, Water, Air, and Fire. Throughout the show, we get to see the many ravages of the Fire Nation's 100-year war, which has devastated the environment, enraged the spirit world, and created thousands upon thousands of refugees.

The show begins in a world in which the Fire Nation has launched a massive war in an attempt to colonize the world. Most of the Earth and Water kingdoms have been overtaken, and the entire race of Air Nomads has been wiped out—all except one.

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Culture Feature

Drew Brees Exemplifies How NOT to Be a White Ally

The quarterback said "I will never agree with anybody disrespecting the flag of the United States of America or our country." And then he tried to apologize. And only made it worse.

Reggie Bush, Jeremy Shockey, Drew Brees, New Orleans Saints - Best Team 2010 ESPY Awards

Photo by Joe Seer (Shutterstock)

Drew Brees, a man who makes literally millions of dollars for throwing a ball, has come under fire for insensitive comments he made about NFL players kneeling during the National Anthem to protest police brutality.

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MUSIC

Bob Dylan’s First New Song in 8 Years Is About JFK and the Death of America

It's an exploration of JFK's assassination and its aftermath.

Bob Dylan - Murder Most Foul (Official Audio)

Bob Dylan has released his first new song in eight years.

"Murder Most Foul" is a 17-minute tapestry of Americana history that is, as most things from Bob Dylan are, folkloric and reverent. Here, the object of Dylan's horror and worship is John F. Kennedy's death, which ties together countless references to everything from ANightmare on Elm Street to "Moonlight Sonata" to Stevie Nicks and Ray Charles.

As violins and drums mutter in the background, Dylan laments America's complex, largely mythological, often wicked history. His focal point is the 1960s and the fallout from JFK's 1963 murder. He mentions Woodstock, the Age of Aquarius, and Altamont, the doomed California music festival that was invaded by Hell's Angels and ended in bloody disaster.

Despite its focus on the mid-20th century, the song veers throughout time and across mediums. The title itself is a reference to Shakspeare's Hamlet, and he specifically shouts out Lady Macbeth in one verse, then pivots to messages of sympathy for a woman whom we can safely assume is Jackie O.

Bob Dylan Revisits His Long, Twisted Relationship with John F. Kennedy

Dylan's complex obsession with John F. Kennedy's death goes far back in time. He apparently called JFK "fake" and a "pretender" and did not vote in the 1960 election. But in 1960, he told Rolling Stone, "I don't know what people's errors are: nobody's perfect, for sure. But I thought Kennedy, both Kennedys – I just liked t hem. And I liked Martin Luther King. I thought those people who were blessed and touched, you know? The fact that they all went out with bullets doesn't change nothin'. Because the good they do gets planted. And those seeds live on longer than that."

Later, when asked about the assassination, he said, "Of course, I felt as rotten as everyone else. But if I was more sensitive about it than anyone else, I would have written a song about it, wouldn't I? The whole thing about my reactions to the assassination is overplayed."

He pivoted yet again thanks to an excess of alcohol. When accepting the Tom Paine Award from the National Emergency Civil Liberties Committee in 1963, allegedly "a drunken, rambling Dylan questioned the role of the committee, insulted its members as old and balding, and claimed to see something of himself (and of every man) in assassin Lee Harvey Oswald."

"I'll stand up and to get uncompromisable about it, which I have to be to be honest, I just got to be, as I got to admit that the man who shot President Kennedy, Lee Oswald, I don't know exactly where—what he thought he was doing, but I got to admit honestly that I too—I saw some of myself in him," said Dylan. "I don't think it would have gone—I don't think it could go that far. But I got to stand up and say I saw things that he felt, in me—not to go that far and shoot."

Now he's gone back on his word and returned to JFK nearly half a century later. "Murder Most Foul" is apocalyptic and brooding, and it can't be an accident that Dylan released it in the midst of a pandemic. "What's new pussycat? What'd I say? / I said the soul of a nation been torn away / And it's beginning to go into a slow decay / And that it's 36 hours past Judgment Day," he drones, words that—like the best Dylan lyrics—seem to apply to anything and everything at once.

"Murder Most Foul" Questions America's Motives and JFK's Legacy

JFK's rise represented a profound moment of all-American optimism, but to many radicals he was just another figurehead. Dylan's confusion and rage at the government feels relevant today, especially because it was released the day after a controversial and resolutely non-populist stimulus package—which allots $500 billion to big businesses while giving a small one-time check to working people and nothing at all to hospitals—was announced.

Sometimes, in these pandemic days, it does feel like we've passed through some kind of long-feared cataclysm, and now we're in the free-fall. John F. Kennedy's assassination, like 9/11 and like COVID-19, was a moment that marked an entire cultural conscience and revealed the vulnerability of American ideals and the insubstantiality of all our great institutions, for better or worse.

But we still have music; that's one thing that's not going away. In the end, "Murder Most Foul" is just as much of an ode to music as it is an ode to the ephemera of the past.

Bob Dylan - Murder Most Foul (Official Audio)www.youtube.com

CULTURE

Vulture Dehumanizes Drag Queens with Random Ranking

Unfortunately, New York Magazine overlooked the depth of those underneath the makeup, even dwindling some down to a footnote.

When New York Magazine began releasing photos of international drag sensations, many fans were excited to read profiles on the artistic geniuses.

Unfortunately, Vulture's coverage reminded many that a RuPaul's Drag Race bubble exists and not everyone respects the Queens for the artists they are. Instead of treating the magazine's cover stars like those prior, the publication ranked the performers, classifying them as either Top Tier or Bottom Tier. The reductive representation offered no further insight on the fascinating queens—who they are beyond surface level accomplishments or individual placements on the show. While Drag Race is a launchpad for hundreds of queens, Vulture failed to appreciate the profundity of the new generation of Instagram and reality TV celebrities.

The lives of drag performers tend to be disregarded, with fans favoring the spectacle and on-stage characters. This is a reminder that queens embody a type of expression that both embraces and rejects gender to cultivate a new narrative and understanding of personhood. Drag culture is a celebration of self and the ability we have to truly be ourselves. Unfortunately, Vulture overlooked the depth of those underneath the makeup, even dwindling some down to a dehumanizing footnote.

Queens photographed for the publication reacted swiftly, taking to Twitter to criticize the written content and the photos' lighting.

Although Martin Schoeller is known for his up close, unedited style, the article did not match the quality of the photos. Willam Belli (of Drag Race and television fame) called out the journalistic integrity of Vulture's editors, claiming none of the subjects were informed they would be ranked.

If journalists bothered to look beyond the accessible information on a drag queen's career, each artist's influence on our cultural consciousness would be more recognized. In turn, they could become championed members of our society, surpassing Pride coverage and queer-oriented events (ahem Met Gala). Uplifting their stories year round (outside of the reality show format) would increase the number of pivotal voices allowed to transform our culture. If it wasn't obvious enough, these entertainers have contributed to a shift in Western society and impacted younger generations for good: Gen Y and Z are more inclusive and expressive than past generations, which will inform the future, with or without journalistic appreciation. Vulture should know better.

MUSIC

American Football Proves that Emo Can Evolve

With the release of their latest album, LP3, American Football makes mature emo music for grown-ups

Over the past 21 years, American Football has amassed something of a cult following among emo and post-rock fans.

After initially releasing two projects – an EP and a full-length in 1998 and '99, respectively – the group disappeared for over 15 years, which lent a somewhat ghostly quality to their reputation as a not-to-be-forgotten emo band from another era. Fans fell in love with their fresh take on a tired genre: infusing twinkling math-rock guitar licks with vistal, open chords, and sincere, confessional lyricism, creating a sound that was as unique as it was familiar.

It wasn't until 2014 that American Football reunited and the band could finally materialize into something more than an unsung relic from a time when emo and pop punk reigned supreme. With this surprise reunion, Polyvinyl Records released a deluxe edition of the band's original self-titled album from 1999, including 10 previously unheard live recordings and demos. American Football had been resurrected and reinvigorated, leading to the release of their second eponymous full-length album in 2016, which further solidified their already established dreamy and buoyant sound. Although LP2 was by no means poorly received, it was frequently criticized for sounding more like Owen (founding member Mike Kinsella's solo project) than it did an American Football record.

On LP3, released earlier this month, it sounds as if the band took this criticism to heart. It truly sounds like an American Football record, through and through, from track one to track eight. Not only has the band managed to reimagine their trademark sound in new and exciting ways, but every song feels both fully fleshed out and necessary, creating a cohesive and dynamic album. It is always a bit risky to release an album with so few songs because each one, then, is bound to receive increased attention. It's one thing to have a skip-over song or two on a typical 12 or 13-track album, but when a band only offers up eight cuts, there is extra pressure to deliver on every single one. But deliver they did.

LP3 is one of those albums that you could jump into at any point and become immersed. Each song provides its own satisfyingly complete musical experiences and unique catharses, and each song leaves you curious to know where the next one will take you. You could play the album in its natural order, starting with the intriguingly minimalist-inspired bell motif that opens "Silhouettes," or you could happen into the album halfway through and get absolutely lost in the windswept, delay-driven guitars, and almost Morrissey-like melodic sensibilities of "Heir Apparent." Either way, you are in for a sonically satisfying experience.

Other standouts on the album, such as "Uncomfortably Numb," featuring Paramore's Haley Williams and "Every Wave to Ever Rise," assisted by Elizabeth Powell of Land of Talk, show how American Football has nearly perfected their signature sound. Whereas the American Football of the past may have allowed these songs to roll by as quietly pensive ballads, the American Football of LP3 is filling in the gaps with rich vocal harmonies and subtly complex instrumentations that result in a more mature and layered sound. In many ways, LP3 sounds like the fulfillment of American Football's long-standing potential – this is how American Football was meant to sound.

LP3 is the answer to the question, what would an emo band sound like if they truly allowed themselves to grow as individuals and musicians? The result is an emotionally resonant collection of honest meditations on love, loss, and loneliness without any of the gimmicky teenage angst or three-chord simplicity often associated with the genre. American Football is at their best here. Hopefully, fans won't have to wait another 15 years to hear the next iteration of their sound.

American Football (LP3)



Dustin DiPaulo is a writer and musician from Rochester, New York. He received his MFA in Creative Writing from Florida Atlantic University and can most likely be found at a local concert, dive bar, or comedy club (if he's not getting lost somewhere in the woods).


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CULTURE

Are These Artists Actually Clones Created by Greedy Music Industry Executives?

Is Ariana Grande just a renovated Mariah Carey? Are Brendan Urie and Patrick Stump dating—or are they the same person? The truth is out there.

Though all music borrows in some way from other music, sometimes bands or artists just sound and/or look uncannily similar to each other.

These similarities raise pressing questions: how and why do these bands sound so alike? Could there be some dark secret behind their successes, some cloning initiative launched once music industry executives realized they could just repackage the same artist under a different name and double their profits?

Regardless of how much of the truth you're willing to see, this list exposes pairs of bands or artists that not only sound the same but also seem to occupy the same cultural purpose, performing the same symbolic and emotional roles for fans everywhere.

1. Cage the Elephant and the Black Keys

Cage the Elephant and the Black Keys are different bands. It's a proven fact. And yet are they? They both feature singers with mid-range voices and vaguely Southern drawls. They both use grungy guitars that sound like they've been filtered through a litany of overdrive pedals. They both make songs that have lyrics—but are the songs really about anything, or are they both just kind of sad attempts to fill the hole created by rock and roll's death?

Objective facts tell us that these bands are indeed different—Cage the Elephant opened for the Black Keys on several tours, and Black Keys frontman Dan Auerbach produced Cage the Elephant's 2015 album and their new 2019 single. But is it so hard to believe that some rip in the fabric of the time-space continuum created a world in which two slightly different iterations of the exact same band can walk around at the same time? Even some of their biggest hits like "Gold on the Ceiling" and "Ain't No Rest for the Wicked" are eerily similar, both relying on ominous bass lines and sparse, punchy guitar hits.

The Black Keys - Gold On The Ceiling [Official Music Video]www.youtube.com

Cage The Elephant - Ain't No Rest For The Wicked (Official Music Video)www.youtube.com

2. Mariah Carey and Ariana Grande

They both have stratospheric ranges, prima donna pop culture royalty and/or meme status, and impressive whistle tones. Sure, Ariana's music is tailored to the ultramodern era, whereas Mariah's occupied a similar space in the late 90's and early 2000's pop canon, but they both embody the image of the magnetic, radiant, super-talented starlet with an only slightly infuriating trail of number one hits.

Mariah Carey Vs. Ariana Grande SAME AGE Vocal Battle! (UPDATED)www.youtube.com


3. America and Neil Young

If you've heard the band America's number one hit, A Horse With No Name, chances are you might have wondered if you were listening to one of Neil Young's early collaborative efforts. But Young and Dan Peek, the late lead singer of America, share little else than a slightly nasal tenor voice, a penchant for dreamy folk rock, and dozens of harmony-laden albums from the 1970s.

America - A Horse With No Name+Lyricswww.youtube.com


Neil Young - Harvest Moonwww.youtube.com

4. Radiohead and Muse

They're both obsessed with technology, paranoia, apocalypses, and thematically complex concept albums. Ultimately Radiohead's breadth and range of sonic textures far outdoes Muse's, but on some of their better-known songs, Thom Yorke and Matt Bellamy's desperate and wailing voices could easily be mistaken for one another, especially when they're both crying on about fear and loneliness in the digital era over dizzying layers of synthesizer. Plus, it would fit well with both of these bands' brands if they were replicants of each other.

How Much Does Muse Sound Like Radiohead: Analysing Composition, Style, and the Radiohead Zeitgeistwww.youtube.com

5. Fleet Foxes and Grizzly Bear

Grizzly Bear and Fleet Foxes both have a propensity for multi-layered trippy, ambient folk. Their lead singers have high, delicate voices that sound like they're emanating from a distant cabin, wafting towards you on waves of campfire smoke. There's a whole battalion of folk bands that sound like these two, but as pillars of the genre, the similarities between indie's leading foxes and bears are difficult to ignore.

I'm Losing Myself (Feat. Ed Droste) by Robin Pecknoldwww.youtube.com

6. Fall Out Boy and Panic! at the Disco

Patrick Stump and Brendon Urie both have irrationally massive vocal ranges, which they use to create passionate, angsty, climactic jams that have been giving voice to tween girls' pain for decades. They actually have collaborated several times—even on a Coke ad, which you can listen to in its full glory as each of these singers attempts to out-belt the other. Both bands formed within three years of each other (Fall Out Boy in 2001, Panic! in 2004) and occupied similar cultural spaces in their respective golden years. Fans have even shipped the two lead singers together. Plus their specific vocal styles spawned dozens of shaggy-haired copycat frontmen.

Drunk History: Fall Out Boy featuring Brendon Urie of Panic! At The Discowww.youtube.com

Fall Out Boy Ft Brendon Urie from Panic! at the Disco - Don't Stop Believing coverwww.youtube.com

7. Avril Lavigne Pre and Melissa Vandella

Everybody knows that Avril Lavigne died and was replaced by a clone of herself, created by deft industry people who couldn't resist the potential profits of more Sk8r Bois. Still, the clone does sound and look remarkably similar to her predecessor, despite the obvious differences (Melissa prefers dresses and skirts, while Avril favored pants; and Avril would never have married Chad from Nickelback). Very impressive, music industry executives, but we're onto you.

Conspiracies: Did Avril Lavigne Die in 2003? | Pigeons & Planes Updatewww.youtube.com


Eden Arielle Gordonis a writer and musician from New York. Follow her on Twitter @edenarielmusic.


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