Hard Candy review

In this week’s FTMU we go all the way back to 2005. Hard Candy stars a young Ellen Page, but this isn’t the Ellen Page we all fell for in Juno. She’s no snarky and funky little teen prego. She plays Hayley Stark, a mature 14-year old girl who finally meets a 32-year old photographer that she has chatted with online for the past few months. Played by Patrick Wilson, he is nice to Hayley, and is quickly talked in to going back to his house by his pubescent new friend.

Once there, Hayley eventually talks him in to having a Screwdriver with her. Up to this point in the film, it just seems like a very uncomfortable friendship is forming. Jeff, Patrick’s character, doesn’t seem to be returning the thinly veiled flirtations from Hayley, but he’s not stopping them either. He’s not keeping a 14-year old girl from drinking with him, and the conversation is just uncomfortable for the viewer to enjoy. I found myself very tense and not sure of what would come next.

Well, I didn’t see it coming. Hayley has drugged Jeff, and he wakes up, bound, to a very different Hayley. She is convinced that he is a pedophile. She is prepared to do anything to get him to confess, by threatening to call his ex, and goes through the elaborate explanation that she is going to castrate him; she brought the tools and the medical book with her to do it right so that she could do it safely.

The film spirals and whirls as Hayley and Jeff circle one another verbally. Jeff lashing out at her, Hayley dedicated to finding out the truth.

The entirety of the film, except for the opening scene, takes place in Jeff’s modern, minimalist home. The stark decor, lack of warm colors and lack of any clutter, lends to the feeling that the story portrays. Set design is often overlooked as many shoots in big films are location-based and offer little chance for complete and total design. I love films like this, that take place in just a warehouse or home, where every little set piece is carefully designed, chosen, and placed. I appreciate everything in this movie from the couch to the Hayley’s pseudo-tomboy haircut and her hoody.

This is a psychological thriller. The film is terrifying. The obvious and deliberate change in pace after Jeff is drugged, is matched by the sudden change in Hayley, and as a reaction to being bound and potentially castrated for suspicion of pedophilia, and Jeff, changes the tone for awkward to watch to horrifying to witness.

Ellen Page shines, as she should being a 14-year old bent on cutting off a man’s testicles. She really is disturbing in this film. Hayley is a fragile girl, awkward and weak, but also emotionally and mentally fragile. You get the sense of a cold grip on the situation, a well laid plan, but in the moment there is nerves while she relishes the moments. She whispers and she screams. She wants him to confess, needs it, but is enjoying seeing him squirm. Her mature language and at times her very nonchalant mannerisms are chilling for the situation. This is a man you’re torturing, not some science project for the fair. Who is the crazy one here, Hayley or Jeff?

I highly suggest this film, because it is Ellen Page like we’ve never seen her after Juno. She is cold, calculating, and a damned dangerous child. Does she get her man? Does she force him to admit he is a pedophile? Is he a pedophile, or just willing to say anything to save his life? Well, that’s some hard candy to swallow. (Okay, that was bad) Watching this movie I didn’t do much talking, or anything for that matter. I reacted, shocked at moments, and relished every scene. See the movie. You will love it. Five stars, if I must attach an arbitrary rating to it.

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Your Life on a Hard Drive

or: The Cloud Model…Extrapolated

We here at Poppyc**k love technology, and have for years welcomed the idea that one day our future robot overlords will see us for the dangerous and unpredictable variable that we are and decide through complicated algorithms that the course of elimination or enslavement far outweighs the dangers of tolerating our wild behavior. This is an inevitable course of events that we have decided is the most probable end to our lives on this planet. In the meantime, we are seeing the first steps toward a Matrix-like world so eloquently illustrated in the first installment of the trilogy by Andy and Lana Wachowski (two and three were shit, let’s be honest). As the idea of ‘the cloud’ marches on toward an inevitable reality that consumes every nook and cranny of your life, the next step is one that is disconcerting for current models of business and life. Though there will always be a set of humanity bringing up the rear in adopting the next logical step, it will all eventually lead to the conclusion that digital material will one day replace all analog material in the mediums of film, music, video games, and beyond.

The shift has happened already as we try to reconcile a world of ones and zeroes with the physical world we have all known throughout our entire lives. Look at what we’ve seen in the last few years alone. We’ve seen the rise of subscription and free services spanning everything from news outlets to movie services and streaming music sites. We’ve seen the rise of iTunes moving not only music, but every film and TV show you can imagine. We’ve seen ‘smart’ TV’s and the rise of downloading services like Steam in the video game community. Some brick and mortar buildings have closed their doors from the Rocky Mountain News to now Blockbuster claiming bankruptcy and even some magazines seeking refuge in cutting hard copy printing all together and instead shifting to a completely digital business model. The signs all point toward the fact that one day, sooner rather than later, your only source for anything you want, will be viewed through the pixels on a screen, not on a page of any kind.

It all makes sense to me. Why continue with the crushing overhead of DVD’s, CD’s, paper, delivery, shipping costs, purchase orders, presses, employee work forces, and all the other issues that go along with distributing in the three-dimensional world? It is all cut down to near zero overhead when it goes digital. What it used to take thousands of people to accomplish from beginning to end of a process can now be accomplished by three guys jacked up like drug addicts in a dark room with no windows. Just plug those kids in and let ‘em code. Hell, they don’t even need health insurance plans; more savings!

So what is the new business model? What will the landscape look like once there is literally no ‘hard copies’ of anything? Well, I suggest we take a look at the three major industries I highlighted earlier. The three areas where this move will be easiest to make and the major changes that have already taken place. It’s like getting fat, it doesn’t happen overnight, but one day you realize after looking at an old photo, shit, how did it come to this?


There have been a lot of issues surrounding the music industry in the digital age, dating back to Napster’s unveiling (ask your parents, kids). The idea of property rights in a digital age really started here and this is where DRM questions really came to light. Well, if I own it, why can’t I share it digitally with a friend? When I bought CD’s I was allowed to let a friend listen, this is just like that, but on a scale of millions of people. Who really owns the music? I’m not selling it for money, I’m just sharing it with strangers. Where’s the harm? Someone bought it, since I am downloading it, they already got their money, but I just am borrowing it from someone I don’t know, where’s the harm? Well, it was decided there was harm and Napster went away for a while after lawsuits and…forget it, just watch The Social Network.

Now, after the crushing eye-opener that was the Napster business model, digital media is still pirated and illegally downloaded. Hell, if you’re really savvy you can get an album off the net weeks before it’s even released to the public; that’s a real digital pirate, right there. The model for music production and distribution has changed as the technology has improved. The great thing about today’s landscape is that, through social media and cheap music programs, anyone can make an album and distribute it across the world. Technology for the consumer has caught up with what used to take a multi-national label to achieve; and a fucking 14-year old boy in Iowa can have an EP online in a matter of days when his mom buys him a Mac and Fruity Loops for Christmas.

With the advent of technology finally trumping the once touted label powerhouses, small indie labels and truly independent artists have been carving out their corner of the net to the tune of real cash money through a completely digital product. They don’t actually make anything. After initial cost, the music they made and put up on the net for sale, which people will pay for, cost them nothing but time. Zero overhead! No one is taking a cut, there is no advertising blitz, press junkets, or CD release parties. They just tour performing shows and then eventually press ‘Enter’ and BAM, they have an album. There are so many avenues for personal promotion. From WordPress, to Facebook, to SoundCloud, to CD Baby, to iTunes, to Amazon.com, to privately hosted website and PayPal, there is a distribution network already set up for anyone with a beat machine and a crack pot pipe dream of producing their own music.

It doesn’t stop there. With free streaming mega giant, Pandora, you don’t even need to pay for music to hear it. It’s just like the radio, but it’s a radio that only plays what you want, and there are no annoying fucking crank calls to celebrities on the local morning drive show where assholes are supposedly entertaining you. Play some Goddamned music already! With Pandora, you pick the music you want on the station, and it will play that and anything else that preprogrammed algorithms think you will also like based on your tastes. Sure, a short commercial or two, but for a few bucks a month you can make that go away with the free station’s premium package.

Speaking of paid services of music libraries, how about that MusicUnlimited? Or maybe you might have heard of Spotify? Well, these are just the tip of the iceberg for accounts with limited listening for free, or for a reasonably affordable upgrade, you can have access to millions of songs without actually paying for any of them individually. This trend is three-fold. Down goes the old model, like Ortiz from a Mayweather cheap shot. Not buying albums anymore? Who gets the money? How does an artist make a living in the digital milk crates with all the other artists? The second fold is the terrifying realization that you will probably never stand out if you are nobody, and becoming somebody will be that much harder when no one is buying digital albums anymore, let alone hard copies out of the trunk of your car or at the merch booth after your set. How are the talented and unknown masses supposed to get your attention when people stop buying a new artist’s music SPECIFICALLY?If people are downloading tracks from an artist in particular, they are far less likely to draw an interest in that artist if they are just a part of the Spotify catalog. Third fold is the complete elimination of money going directly to an artist. When I buy music (I never pirate music) I am doing so because I love what that artist is making and I want to support people, groups, or musicians so I can continue to hear them create with the dollars I give them. I am directly supporting the cause for more good music to come out of that person. How much is going to them in the catalog subscription model? They are already touring in a van and eating Vienna Sausages out of a can. The shoe-string can’t take that kind of tension, friends. Do you want to see your favorite artists quit the game because they can’t make a living on the subscription model? I didn’t think so. Be weary. But I guess there is always Kickstarter…but that’s a WHOLE ‘nother article.


Films have seen so many advances in technology, and still employ so many of them it can make your head spin. From reel to reel still used in filmmaking and projection at movie theaters, all the way to 3D technology and digital editing and distribution in DVD and Blue Ray formats, this industry is still using just about everything it did at it’s advent at some point in the process. It is the oddest thing.

Want a real world example of how the industry is unable to make the full leap forward? The advent of the digital copy. Not only will they not relinquish complete control of the film’s rights through safeguards in copying movies to hard drives for streaming to iPads, mobile devices, and computers, they are now going to provide you with a copiable copy of the movie with the purchase of the film in DVD and/or Blue Ray format. Couldn’t we just do that with the one disc I already paid for? This is a losing business model. What if Henry Ford had rolled out a promotion of getting a free horse and buggy with every Model A sold? Maybe Verizon should throw in a free pager with every Android-powered phone they sell? One more example? OK. I can’t wait for my doctor to give me a free Leach treatment to get out all the ‘bad blood’ next time I get a flu shot. I mean, c’mon.

Movies have always been protected in usage rights. We’ve all seen the scary FBI warning before a film. Who can blame them? With movie costing hundreds of millions of dollars when you factor in promotion, advertising, production cost, buying a script, rewriting a script, screen testing, lawyers fees, actors pay, union pay, and on and on, it is a wonder movies even get made anymore. The investment up front is so huge and the cost of producing DVD’s on the back end (with more promotion), it is astronomical cost that is met with great venom if anyone beats the system and shares a film online or sells bootleg copies. (side note: movies are bootlegged but music is pirated? Why?) They sink so much liquid and borrowed capital into the production and release of a film that it can be catastrophic for a movie to be bootlegged even a few thousand times, let alone downloaded through Bit Torrent sites by millions.

Movies have also seen the fall of rental stores and the rise of Netflix. This is another shift in an industry not unlike that of music. A massive library of hundreds of thousands of TV shows and films to which you have 24-hour access. No longer do you buy a movie. You stream it or rent it through the mail service of Netflix; well, Quikster now, but that is a WHOLE ‘nother article to itself. Fuckin’ Netflix. Anyway, people are no longer buying movies at 20 to 40 bucks a pop. They are just renting as part of a service, or skipping hard copies all together and just streaming it to their TV through an online service. Sure, the quality of the video and audio depends on your internet connection and the availability of HD for any particular title, but the result remains the same: No one is buying the title outright at Best Buy.

Those that are buying movies specifically are the quickly dwindling folks on iTunes who want to buy a movie, or a season of a TV Shows. Yes, people are still buying movies. I don’t remember the last movie I bought. I think I got a used movie at a Blockbusters “80% off because we are fucked” sale a few years back. The titles online are cheaper than the actual hard copy version, and you do have the option of just renting the title. You can also watch the trailer for the film before you do either of those and even read peer-reviews of the film by those that think their shit smells like Roger fuckin’ Ebert’s (that’s me by the way, three reviews deep).

What can large production houses hope for, best case scenario? They still need to blast your face with advertising like their movie is a GOP candidate for President. There needs to be more advertising for this film than your brain can handle. They need big Hollywood names, and you gotta pay for that. You still need key grips, union guys, set designers, wardrobe people, craft services, extras, insurance, equipment that’s not getting any cheaper, special effects guys, stunt doubles, rooms of editors, interns, assistants, trailers, marketing guys, screen tests, script writers, and the rest of the world’s biggest enchilada. The best they can hope for is that streaming sites will be able to cut them in deeper on the pie and costs keep rising in those fees. You’re gonna cut out hard copies to only maybe 20% of DVD sales in the next five years. It will mostly be subscription services and digital downloads in HD. Oh, did I mention HD digital copies cost more than standard definition copies? Well, they gotta get you somehow, right? Since they can’t get you with the price of popcorn in your living room, you’ll pay for a clearer damned picture…the movie is better in HD, right? Picture quality has gotta be worth at least one more thumbs up from MovEENerd810.

Video Games

Ah, one so near and dear to my heart we could write all day and night about this industry and never be done. This is my bread and butter, the jam on my toast, and the wiggle in my walk. Literally, I think I have a deformed tail bone from all my hours sitting in a chair with a controller and a bursting bladder waiting to pee until I reach the next checkpoint.

The gaming industry has always confused me. Well, not always, just in the last five years or so. Why are AAA-titles costing me 60 bucks a pop!? I know they cost a lot to make, but then again movies generally cost more…so what gives? The money invested and the man hours are on par with a film, but it costs three times the price for a copy of a game that costs less to make? I never got that. Where does all that money go? They always have multiple titles in development, on the shelves, or in my collection and you still charge me sixty dollars for a title? I never got that explained to me.

That said, this is a multi-billion dollar industry that shows no signs of slowing down. Kids keep being born, and in this digital age, they’re not satisfied with sticks and cardboard boxes to play in, they want real entertainment. They want entertainment it took a team of a few hundred people two years and 60 million dollars to create. They want entertainment so vivid and visceral that movie producers and script writers are jumping ship and joining the gaming world pitching new IP’s and joining development houses. Games have gotten so good that I would pit the script and storyline of any video game trilogy up against the likes of any of the best movie trilogies of all time. Frankly, our stories are better, and you get to fucking be IN them!

Gaming has seen the advent of many technologies since it’s inception, too. Unlike the movie industry, they have adopted new technology and let the old stuff die a slow and painful death. Well, not a death, but they fall in to the category of nostalgia, not dead technology. I doubt you still watch movies on a reel to reel on the wall of your garage in 8mm, but there are those that still love the feel of an NES controller in their hands and live their life in 8-bits, gladly. With new systems, new graphics engines, and extremely talented minds, the gaming industry went from nerdy to chic pretty damn quickly. Have you seen an after party at E3…that’s like any Emmy after party out there…star-studded.

As internet connectivity has given way to multiplayer expansion, DLC, and now media streaming like ESPN and Netflix, the console has taken on a whole new meaning. With the internet hooked up to your XBOX or Playstation, you can download music, stream movies, play game demos, watch sports highlights and live games, can download indie titles from the arcade, play games with friends across the country, and oh yeah you can even purchase full games without leaving your chair. Just like with movies and music, you don’t need to leave your house and drive to the store to get a title, you can just press a button and have the title at your disposal before dinner is done cooking.

This idea of live and on demand has gotten to video games in a big way. The DLC was a huge leap. Wish there was more ‘movie’ in your movie? Well, you can now have more ‘game’ in your game! With DLC (downloadable content) you can buy another chapter to the story, another side mission, another part of the world that was weaved for you by all the people that made the game. Game developers are no longer limited by the space on a disc, they can just keep adding things on and new content to keep people buying copies and spending money through the digital marketplaces.

Things are progressing further and the talk of strictly digital sales is slowing growing from grumbles by gaming futurists to a dull roar from all involved. This could have both dire and profitable ramifications. Say goodbye to Gamestop, for one. Without hard copies of games, trade-ins, used titles, they are out of business. The chain should already be figuring out a third-party business model to work in the coming analog-apocalypse. With no hard copies, GameStop would go the way of the Dodo in lieu of the larger chains like Target, Best Buy and Wal-Mart offering consoles at a cheaper price and more conveniently in their omni-specific outlets. Also, with digital distribution it would require an upgrade to the skeleton system of servers that keep the online marketplace and multiplayer universe going. A switch to digital-only would result in a better user infrastructure, fast forwarding the slow development and minimal servers in place now to handle increased traffic. I would hope it would lower costs for AAA-titles overall, but I fear that the savings would be only minimal in the range of five to ten dollars a title.

There are already some services out there that are the first-adopters that see the wisdom of investing in the inevitable shift early, so they can be on the cutting edge of a working model while everyone else is just getting their pants on. Steam is quickly gaining, well, steam, as a progressive and successful gaming model for PC-users today. It is not just a gaming marketplace with over a thousand titles available for download, but is a community of savvy gamers with forums, automatic game updates, Steam-only special offers, chat services, and up to the minute industry news, but it is a successful model with full transparency. From stats on how many people are playing, achievement stats, and a lot of open information, it is a model for what might truly be the next step in the gaming process. I know we are still at a mostly hard copy stage right now. But just as with music, small gaming publishers and simply just dudes with coding skills and some free time, are able to create and distribute fun and exciting new IP’s in a cost-effective and explosive manner. Do you think Limbo was possible even five years ago? Not a chance. Digital is where it is at with the video gaming future. We already did away with user manuals for the most part. GOW3 was just north of directions scribbled on a used cocktail napkin, but at least it came with stickers. Yay for the digital future in gaming.

So where does this leave us? I could go on about book sales, newspapers, the inevitably shaky future of standard programming on cable, the advent of on demand streaming sites like Hulu and Sidereel. I could have dazzled you with massive statistics to back up every point I have made, but that’s not the Poppyc**k way. I could continue to prattle on about Omni-tools and devices and the attention span of an ever busier and ever more impatient and uninformed world. I could keep moving toward the simple idea that we don’t have enough hands to carry it all or the time in the day to drive somewhere and buy it all. We need it on demand, at our fingertips, and at a reasonable monthly price. We want less stuff but access to more things. It’s all about the digital.

We sit in an odd ethos right now, as consumers. You go and rent a movie, and buy a video game. Most people have moved on in their music to the digital world with a mix of iTunes, Pandora, and Spotify. As we move forward some stuff will stick around for nostalgia’s sake, and for high quality viewing. Blue Ray will be replaced with something, smart and 3D TV’s will be standard. Books will be a quirky thing it is chic and trendy to buy from a corner shop in downtown LA. Textbooks will be a thing of the past as tablets and Kindles become more cost effective.

We are straddling a very odd time where we have on foot in the age of analog and one foot in the age of a digital (r)evolution. The (r)evolution won’t be televised, it will be downloaded and streamed on demand. It will end up in our Netflix Queue between Uncle Buck and Who Framed Roger Rabbit? It will be shared on our FB profile and synced with Tumblr and Twitter as we watch sports highlights and news videos while we download the big video game title of the year and search through the complete Beatles anthology on Music Unlimited. I feel like we’re currently in a scene from the video for A-Ha’s “Take on Me.” We are in a sketched, standard definition world. Walking behind the window we are in full-color and 3D. We’re on our way to the other side, but right now, we’re just leaning around the window; we’re both sketched, and real. I don’t know what the motorcycle guys with wrenches represent in this analogy, maybe DRM rights, but all I know is that it is an inevitable change, the cloud idea, because everyone wants to make just a little more profit, and overhead is just such a dirty word today.

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Warped Tour: “Punk Rock” or “Punk-life?”

I suppose there is a lot that can, and has, been said about the Warped Tour in it’s 17 years. I’ve been one of it’s detractors in the past. This is my third consecutive year covering the Warped Tour and I don’t shy away from admitting that I have been one of those strong voices questioning it’s current validity as a “punk rock” tour. I was so vocal and adamant last year that my editor had to post up my editorial with a big, red disclaimer, fearing the burning of bridges from the venom with which I spoke. This year I have decided to do this for her and post this editorial on my own site, effectively putting myself at arms length so I can express to you my views without getting anyone in trouble but myself. With that said:


The Warped Tour has had a long a winding road to where it is today. Major corporate sponsorship and the influx of even political entities, including Libertarians last year, has soured the truly punk roots from whence it came. This year I decided to take a very different approach in covering the event and did the interviews that probably brought you here. I wanted to examine the existence of hip-hop and rap on the tour and possibly discover why this seemingly antithetic form of expression and art has been allowed to operate through all these years.

On message boards on the Warped Tour site you can find strong opposition to it’s place on the tour. Listeners and concert-goers seem almost unified in their distaste for such “shit” to be taking set time on any of the seven stages that should rightfully go to truly punk rock acts. I, for one, feel that the punk rock moniker attached to the Warped Tour is no longer defined as a genre, but as an ideal that permeates every act no matter if it is the electro-pop, screamo, or even hip-hop. Punk rock is an idea, a way of life, and when thinking in these terms, hip-hop belongs on the Warped Tour as much as August Burns Red.

The Dangerous Summer

Warped Tour is a machine designed and run by large corporations who are in it to make money. I highly doubt that the people who choose the line-up are fans of all the artists on it. Do you think that booking 3OH!3 or Gym Class Heroes is anything but savvy marketing to sell tickets? Deep in the list, between acts that sell the majority of the tickets, are gems of self-expression that will blow your mind if you give them a chance. There are those acts that do it because they love it. I am not discounting the desire and love of the music of the headlining acts, far from it, but I am saying that you will find bands grinding it out on fan at a time. You will discover artists that have nothing but love for their fan base and think in terms of albums and crafting music “from silence to a full song,” as Budo would say.

Hip-hop, in this fashion, has always been a part of the Warped Tour. A lot of people like boxes. You need to compartmentalize all the options in the world or else you’ll go crazy. Music is no different. If you really just let it all go without comparisons and genres then your mind would not be able to cope with the unending amount of choices one has. There are more songs out there than any human being can listen to in their lifetime if they had music running 24/7 from birth to death. So people look at genres and decide that things are different, belong or don’t belong, and want to trivialize art like music in to boiled down generalizations that truly hurt the expression that can be found with any one act.


There is indie vs. mainstream, underground vs. overground, black rappers vs. white rappers, East vs. West vs. South vs. Midwest, and on and on. People, and the industry, like to break these acts up in to whatever categories seem appropriate for comparison. This hurts the music. Grieves said it best when he told me: “Would you like that song if it wasn’t on MTV? It’s like, if you like that music, why can’t somebody else like it, too? And why is it a bad thing that MTV is playing the music that you like? You hate MTV for playing the shit that you hate, but you would like them if they played the music you like, but when they play the music that you like, you hate that guy now.” It seems that there is an ever-present war between categories where no one can win, almost always the artist, and people are feeding in to that.

MC Lars

If you are one of these people who enforces the lines that divide then I guess this one is for you. You are a hardcore metal fan and think rap is shit and all rappers are the same then take this under advisement: MC Lars wants to have a kids hip-hop TV show like Yo Gabba Gabba to share the power and positivity that can come from hip-hop. A little shocked? Yeah, I was, too. You don’t think that is indie, it’s not hip-hop? Well, what the fuck is indie? You might think it is a sound and an idea of “fuck the machine” and “I don’t give a shit.” Well, indie is simply a business model. There is no sound, contrary to popular belief. Indie is a way of doing business outside of the major labels and doing your thing on your own. It is unadulterated self-expression without anyone tugging on your marionette strings. Producing and hosting a children’s rap TV show might be as indie and outside the box as you can get, and that is punk, too.

Weerd Science

I asked Grieves and Budo about whether or not they felt comfortable on the tour. Grieves boiled it down like this: “We’re all artists out here and we’re all trying to make a living, and we’re trying to expose our art to people. I don’t feel any different from the guys in Winds of Plague who I got to meet on this tour. They are some of the heaviest, hardcore, most metal-ass dudes, and they are the shit. They are are cool-ass dudes.” These are all artists out here. Yes, it might come in different forms and different sounds, but at the end of the day it is all about exposing people to the art each of these groups make. MC Lars feels a bit more out of place, but he told me, “Punk rock is about being yourself, and that makes us [rappers] some of the most punk acts on here because we are doing what we want and following our hearts. Yeah, I feel out of place, and I feel like when I am in line at the catering line in the morning I don’t have any tattoos, and here that is rare, but it is cool because we are all doing what we love and we’re having fun and getting good reactions.” I’m a writer and this inspires me to do it independently after hearing words like this. It is art and everyone here is on a hustle, so what is so different about one act to another when you boil it all down to simple self-expression?

The Acacia Strain

MC Lars is completely independent with his own label, Horris Records. Grieves only recently joined Rhymesayers Entertainment, and I would call Rhymesayers a major-independent label. MC Lars just released a free mix tape that you can download at mclars.bandcamp.com. Lars has no problem if you steal his music, he gives it away, but he just asks that you share it. This has somehow been good for his business and he is growing. Free music, “steal my music?” Wow, talk about working outside the box. Grieves is not one to pull punches about his sound, his passion, and how fed up with bullshit that he is. Sure, they are lyricists and they rap, but music is music and you can’t question their diehard love they have for what they do any more than you can question the heart of The Acacia Strain or The Dangerous Summer.

So what is the Warped Tour? It is obviously not just punk rock music, but it never was just that. Katy Perry and Eminem have done the tour and I don’t see any of them repping the punk rock music flag. Warped Tour is now, and probably always has been, a collaboration of the mainstream and the independent side of things, and independent hip-hop must be represented if not just from an idealistic standpoint. It is an amalgam of musical genres and acts, adhering to a myriad of business models, out to express themselves and reach the widest audience possible; the story as old as time. This is a corporate machine using non-corporate components for profit, but this isn’t exploitation as much as it is a symbiotic Faustian deal. They always have said that you can do more damage inside the machine than outside, and this is a parade of acts doing just that to be able to continue to say “fuck you,” but with a larger fan base. I would liken this to two wholly different industries consensually sodomizing one another. Each is getting their rocks off to their own benefit, but they aren’t looking each other in the face while they do it. If you want to fight the machine, it can help to be one of the cogs for a bit, but as long as you avoid the molds on the assembly line, then the punk ideals will always live on no matter how many Kia stickers you slap on it for a summer.

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