Sofia Marin

Poetry for Beginners

admin — Sun, 18 Apr 2010 00:00:00 +0000

“I, too, dislike it,” begins chapter one.

I remember sitting in class, words like “iambic pentameter” and “consonance” swirling about the room like an intolerable fly drunk on the stuffy classroom air. These words were important, we were told. To understand poetry, we needed to know the rules. And say we did learn the rules, well, we were sixteen-year-old kids and certainly not capable of unraveling the true meaning of a poem. Teacher’s pet and I didn’t even try to feign interest.

Ten years later, I’ve decided to give it another go. Fortunately for me and anyone else who picks up this book, Poetry for Beginners offers readers a fresh and forward guide to understanding and creating poetry. The book effectively contradicts most everything I was taught about the subject in high school—and that’s good news. Poetry is for everyone. Poetry is everywhere. It is more than words and rules. It transcends language and convention, and is a means through which we can better experience and comprehend the human condition. We don’t need to be a scholar to gain something valuable.

At first glance, this guide is tailored to a younger audience. The language is clear-cut, the chapters easy to get through, and the ink illustrations abundant. But in fact, Poetry for Beginners holds the potential to spark anyone’s curiosity for the written word and encourages us to create our own poetry. Not only is the guide accessible, it is comprehensive and inclusive. The book highlights a diverse selection of poets and minority movements, yet also includes a general foundation of must-read authors and their work.

The poems of Homer, Shakespeare, and Dickinson are set alongside those of Dr. Seuss, Public Enemy, and Leonard Cohen. Authors Margaret Chapman and Kathleen Welton explain what poetry is and who it is for. They do away with the top-down method of teaching and dismantle condescending assumptions about who can read and write poetry. This engaging guide fluently decodes poetic form and structure without inundating readers with unnecessary details. The informal voice and numerous poems allow readers to interact with the texts in new and inventive ways. The book concisely navigates through the history of poetry from ancient Greece to present as it simultaneously contextualizes poetry and reveals its timelessness.

Poetry for Beginners illuminates how one of the oldest forms of writing continues to be significant today. Rich and resourceful, this guide puts poetry within easy reach of anyone looking to learn more. Now, if only we could offer it in high schools.

Written by: Sofia Marin, April 17th 2010

Sick: A Compilation Zine on Physical Illness

admin — Thu, 15 Apr 2010 16:01:00 +0000

Edited by Ben Holtzman

Microcosm Publishing

It surrounds us. No matter how difficult, awkward, or painful, we will inevitably come into contact with it. But despite its ubiquity, physical illness continues to be one of the most challenging subjects for people to broach.

Sick is a compilation zine on physical illness that offers up the experiences and perspectives of individuals living with illness. Whether dealing with incurable polycystic kidney disease, coping with cancer, or struggling with an unnamed medical condition, each piece, no matter how distinct, explores common themes of support, communication, and community. Each writer concisely documents her or his personal struggle with illness and sheds light onto the stigmatization of sickness and deep-seated taboos that hinder dialogue. Apart from exploring the painful consequences of living in a society unaccustomed to discussing illness, the writers offer valuable tools that teach us to be considerate and helpful allies.

Sick gracefully navigates its way through a wide range of experiences as it aims to open the channels of communication and establish a collective voice for those impacted by illness. How do we respond when someone tells us they are sick? How many people in our community are transparent about having a disability or illness? What can we do to help each other feel welcome, equal, and supported?

The zine also considers exclusivity within radical/DIY/punk scenes. How does someone’s level of health determine their participation in a particular community? Riding a bicycle, marching in a protest, and dumpster diving, for instance, are activities accessible primarily to the able-bodied. To avoid being ostracized or dismissed, many sick individuals find themselves pushed into the proverbial closet of shame and isolation.

In our culture, sickness is a private affair. We have been socialized to fear or ignore it. Consequently, sick people must not only learn to manage their own disease, but are often burdened with others’ inability to openly discuss and cope with illness. Often racked with feelings of guilt, isolation, and alienation, it is essential that a sick person’s experiences are acknowledged and validated. This is what Sick achieves. It opens dialogue and validates experience. Perhaps we cannot understand what it means to have supraventricular tachycardia, but we can learn to listen and ask our friends how we can provide the support they need.

Though the accounts in Sick can be grim or downright disturbing, the writers’ warm resilience brightens every page with hope for opening discourse and dismantling entrenched social norms. It’s the writers’ heartfelt declarations and earnest desire to create a caring community that makes this read so compelling.

Sick is a compassionate, honest work and a necessary first step toward understanding the complexities of physical illness and building communities of support. It is challenging and tender; it is unprecedented and accessible.

Written by: Sofia Marin, April 15th 2010

One Summer in New Paltz: A Cautionary Tale

admin — Fri, 05 Mar 2010 17:01:00 +0000

Directed by Nancy Nicol

Intervention Video

In the wake of a failing U.S. economy and two unwarranted wars, former president Bush set out to condemn the gay community as he called for a constitutional amendment to reduce gay rights. Facing reelection, the president’s call to enshrine a heterosexual definition of marriage into the Constitution effectively diverted attention away from his failures and used the gay community as a convenient scapegoat. But Bush’s move did more than spark nationwide debate. The anti-gay initiative spurred the country’s largest gay rights movement yet.

The film One Summer in New Paltz is set in this context. The documentary centers on the small town of New Paltz, New York in the summer of 2004 when Mayor Jason West courageously defied Bush’s prohibition of same sex marriage. In an effort to advocate equal rights and avert a chilling effect on the gay rights movement, the young mayor followed in the footsteps of San Francisco Mayor Gavin Newsom by performing same-sex marriages on the steps of his town’s village hall.

As the news spread throughout the region, thousands of same-sex couples inundated the town with hopes to get married. Whether it was for love or for justice, citizens across the country began to rally for equal rights. Although Mayor West faced criminal charges and threats of removal from office, the town continued the struggle as they organized behind the gay rights cause. Ignited and empowered, interfaith leaders and same-sex marriage supporters began to perform same-sex marriages despite the risks.

The film goes on to chronicle subsequent gay rights rallies across the state and demonstrates how citizens took a proactive approach to gay rights in the Nyack Ten legal suit against the state of New York. The film also examines the patriarchal and racist dogmas underlying much of the anti-gay marriage discourse as it documents the first day of legal same-sex marriages in Boston, Massachusetts in May 2004.

Nancy Nicol’s forthright documentary is not only revealing; it is inspiring. The film delineates how local activism and civil disobedience same-sex marriages spurred a nationwide mobilization for equal rights. One Summer in New Paltz skillfully unearths how a national movement was cultivated from the seeds of grassroots activism and solidarity.

Nicol explores the relationship of same-sex marriage, gay/straight alliances, civic engagement, race and the family. The raw footage of protests and thought-provoking interviews offer spectators an intimate window into the ground level of the burgeoning gay rights movement. Additionally, the film conveys how the courage and determination of a few can give rise to the mobilization of many.

One Summer in New Paltz offers a vibrant portrait of a small town that served as a catalyst for a national gay rights movement for marriage equality. For those who desire a closer look at how it all began, this film is worth watching.

Written by: Sofia Marin, March 5th 2010

Trapped Animal

admin — Tue, 20 Oct 2009 08:36:00 +0000

By The Slits

Narnack

If you're expecting to hear the frenzied, skittish, punk sounds of The Slits' 1979 album Cut, prepare to be disappointed, perplexed, upset, or some combination thereof. Original Slits members Ari Up and Tessa Pollitt reunited and brought on board the talents of Hollie Cook, Anna Schlute, and Adele Wilson in recording Trapped Animal. The first full-length album in a quarter century, this album departs so far from The Slits' signature sound that it's surprising they've kept the name. This is not The Slits as you know them.

In this departure, The Slits have replaced an unpredictable punk aesthetic with faded rhythms that emerge from Jamaican and world music influences. Heavy bass lines, horns, and dub-y echoes characterize most songs. Unfortunately, The Slits fail to differentiate themselves from any other mediocre reggae band. I wondered if the inclusion of "Babylon" was meant to be facetious. There must be hundreds of similarly titled songs, and The Slits' version certainly offers nothing new. Particularly disappointing was the cliched use of a vocoder in "Lazy Slam," which recalls the sound of a mainstream pop song rather than anything remotely punk or reggae.

But not all is lost. The Slits come through with "Reject" and "Trapped Animal," in which The Slits take what they used to do best and build upon it. "Reject" is a stripped down punk song interrupted with fragmented staccatos, falsetto vocals, and gypsy breakdowns. Adorned with the album's name, "Trapped Animal" is fast and unpredictable, chaotic and liberating, and ironically, the most divergent song of the bunch. Quivering vocals and bouncing melodies clash with relentless, uninhibited screams to produce an exhilarating and well-crafted jam. Both songs infect with raw Slits energy, and if Trapped Animal has a saving grace, these songs are it.

While perhaps not groundbreaking, but to their credit, The Slits preserve their unique lyrical style of the provocative questioning of accepted social norms. Songs like "Ask Ma" and "Pay Rent" fuse reggae flow with catchy, though sometimes corny, synthesizer grooves, and in "Pay Rent," the result is a dance anthem. The song urges you on your feet and sends a somewhat unconventional yet uplifting message: "We wanna pay rent with our passion." "Ask Ma" questions gender roles and attacks conventional male treatment of women: "Men who need us to be their mother, or hate us cuz of their mother!" But the song takes a step further in offering a remedy for the problem: "So it's up to us to break the cycle, rearrange, and look at how we can bring up our boys to be more loving."

While I applaud The Slits for exploring a new genre and sound, _Trapped Animal _lacks cohesion and personality.

Written by: Sofia Marin, October 20th 2009

Rainwater Cassette Exchange

admin — Mon, 28 Sep 2009 23:25:00 +0000

By Deerhunter

Kranky

Deerhunter's latest album, Rainwater Cassette Exchange, is just five songs in fifteen minutes. Five songs perfectly placed and executed, there is nothing superfluous and nothing lacking. The five-piece group creates an experimental synthesis of noise pop, shoegaze and psych rock to produce an incredibly refreshing and complete masterpiece.

Rainwater Cassette Exchange is vivid, mesmerizing and transcendent. Ethereal vocals and fuzzy guitars coalesce with heart-pumping bass lines as they transport the listener to another world. The band draws on bells, slide guitars, organs, synths, theremins, and more to produce a disorienting and stunningly beautiful sound.

Ghostly echoes and ambient reverb are offset by dark lyrics charged with raw human struggle. When singer Bradford Cox asks, "Do you believe in love at first sight?" the response is taunting resignation: "Oh yes my son, I did before I died. And now it does me no good on the other side." The vocals are sweetly hypnotic, but they are also foreboding and tormented.

While it seems impossible to choose a favorite, "Disappearing Ink" is one of the best tracks on Rainwater Cassette Exchange. The song fearlessly drives the album with untiring guitar riffs, pulsating bass lines, slurring vocals and airy moans. Despite using disappearing ink, "the words still sting." The song leaves no room to escape the inevitability of pain and suffering. Thrashing drums finish the song with a naked moment of self-loathing, "What was I thinking? What was I thinking?"

Each song on this album cleverly develops complex themes of impermanence, mortality, futility and our susceptibility to life's merciless unpredictability. Cox gives us a taste of his own experience struggling with Marfan syndrome, a genetic disorder characterized by abnormally long limbs and a proneness to heart disease.

What's truly gripping about this album is that with each listen, there is something new. What at first sounds distorted and chaotic becomes deliberate and clear. What sounds encouraging and optimistic is fraught with conflict and distress. There is something in these carefully crafted songs, traversing the gamut of competing human thoughts and emotions, that is both disturbing and cathartic. The depth and complexity of each song make every listen better than the last.

Deerhunter has composed an album that intoxicates listeners as it gracefully navigates beyond contradictions. It is upbeat and drenched in anguish. It is confident and exposed. It is both deer and hunter.

Written by: Sofia Marin, September 28th 2009

I Am the West

admin — Fri, 22 May 2009 10:10:00 +0000

By Lovers

Able Heart Records

Love is complicated. What seems to be heading in one direction can catch you off-guard and go someplace else. So too, Lovers depart from the realm of singer/songwriter and venture into the world of electro-pop. Lovers' latest album, I Am the West, opens with catchy synth rhythms coupled with the sweet, airy vocals of Carolyn Berk. And while I esteem female-fronted pop bands who embrace the risks and vulnerabilities of a minimally-produced album, I also want to hear something new. Much to my dismay, I Am the West struggles to differentiate itself from countless other electro-pop albums in circulation.

At first listen, I was distracted by persistent reminders of other bands' music. The meandering synth recalled the great indie bands of the '90s; the pure, exposed vocals ached like those of Mirah (whom she thanked on the CD insert). Don't get me wrong; I still love '90s indie-pop and can't get enough of Mirah, but where is Berk? I caught inconsistent glimpses of her unique sound, and yearned for more. "Tonight" gave me such a glimpse. The song comes together offering an entrancing, lucid and complex composition that opens with orchestral strings and the twang of a slide guitar. Berk's voice enters potent yet whimsical, as she questions a lover's whereabouts.

"I wind through alleys and empty lots, my endless arms are still reaching/But it's your heart, you do with it what you want tonight"

After "Tonight," the album slows down considerably, the songs bleeding one into the next. I waited for another developed tune like "Tonight," but it never came. While the instrumentation was consistently skilled and melodious, the lyrics teetered from charming to downright cheesy. "Confucius say I'm so confused" and "You're a jungle baby, I'm just a little panther" might be sort of funny or endearing in a different context, but ended up detracting from the songs' overall quality. Particularly disappointing were the lyrics of the euphonious acoustic ballad "Stay Another Night." The song pleads a lover to stick around, implying that self-sacrifice is an acceptable route to avoid the pain of losing a partner. Living in a culture saturated with negative stereotypes about submissive and accommodating women, that's not a message I want to hear.

Lovers' latest movement toward electro-pop with I Am the West offers a vitalizing new sound for the band, but struggles to break new ground. Still, there's something to be said for the simplicity of something familiar.

Written by: Sofia Marin, May 22nd 2009

Lessons from the Fat-o-sphere: Quit Dieting and Declare a Truce with your Body

admin — Tue, 19 May 2009 17:05:00 +0000

By Kate Harding, Marianne Kirby

Penguin

Quit dieting and declare a truce with your body. This seemingly straight-forward proposition functions as the springboard from which authors Kate Harding and Marianne Kirby jump into a discussion of what it means to accept one's self and how to dismantle the countless negative and judgmental messages we receive and propagate on the daily. As two of the leading bloggers in the "fatosphere"—the online fat acceptance movement—Harding and Kirby tackle issues of dieting, fat stereotypes, self-deprecation, female acrimony, socializing and much more, all from the fat perspective.

How does denigrating fatness eat away at our own self worth? Are derogatory slights against fatness and fat people considered more socially acceptable than, say, racist or sexist stereotypes? How often do we participate in diet talk (instead of meaningful conversation) in order to "bond" with other women? Lessons from the Fat-o-sphere compels readers to ask themselves these essential questions. We are challenged to examine our assumptions about fatness, and urged to reimagine a way of life founded upon self-realization and fulfillment rather than participation in an endless struggle to achieve the happiness and beauty depicted in the mass media.

There's no question that Lessons from the Fat-o-sphere is a part of the blog-to-book phenomenon. Unbound by traditional rules of grammar, formality and structure, the authors take on an informal style, making liberal use of chummy, sarcastic and intimate prose. Though I'd argue this writing style helps break down the wall between author and reader, establishing an inimitable camaraderie and trust, it also detracts from the book's authority. Time-honored writing methods can be helpful in establishing one's credibility and expertise.

At times, Harding and Kirby shortchange their arguments by over-simplifying complex issues or inserting insensitive and insulting asides. What begins as founded and constructive guidance, might end with a misguided attempt at pseudo-psychological counsel. Also problematic are the persistent contradictions that appear in the book. I was particularly disappointed with the first chapter of the "Socializing" section, entitled "Find a Good Partner." Though the authors acknowledge that "single" isn't synonymous with "unlovable," they suggest time and again that being in a committed relationship is a helpful, if not essential, step toward loving your body and your self. Unlike Kirby and Harding who write that "Life isn't fair; if it were, we'd all be in love right now," many readers might find happiness and fulfillment outside the realm of monogamy.

Yet, despite these shortcomings, Harding and Kirby get the job done. They offer a window into the fat experience and give voice to opinions and perspectives that have long been silenced. They urge us to stop thinking about our bodies as "The Enemy" and encourage practicing "Health At Every Size." They remind us that "the best we can be is not exclusively determined by physical measures," even though we've grown up believing that "our bodies [are] primarily something for other people to experience externally." Importantly, they encourage us to stop judging other women and be our own best friends. That's advice everyone should heed.

Written by: Sofia Marin, May 19th 2009

1st International Body Music Festival (12/07/2008)

admin — Tue, 30 Dec 2008 11:19:00 +0000

Theatre Artaud

San Francisco, California

I wasn’t sure what to expect. What is body music anyway? It’s more than music you can see, and dance you can hear. It’s more than the percussive sounds and melodies made by rhythmic clapping, stomping, chanting, cheek popping, and belly- and chest-slapping that can perfectly mimic any instrument or generate sounds you’ve never heard.

Body music is a collaboration among performers and spectators that takes one of our most basic assets and transforms it into a medium through which we connect, communicate, and create a music of movement.

The nearly week-long International Body Music Festival was the first of its kind, bringing together a variety of body music styles from nine ensembles in settings that were both educational and entertaining. Youth and teacher training workshops filled the days, while concerts featuring throat singers, hambone, Slammin All-Body Band, Balinese Kecak (or monkey chant), and Brazilian body music ensemble Barbatuques took place during the evenings.

The festival’s final concert began with the young woman of Top Notch Steppers, a San Francisco-based drill team. Next, Canadian cousins Celine Kalluk and Lucie Idlout performed the ancient art of Inuit throat singing (katajjaq), whereby the partners use each others’ mouths as resonators to produce guttural vocal sounds through distinctive voice manipulation and breathing techniques. In an intimate nose-to-nose stance, the woman sang in a playful contest to see who could outlast the other. Derique McGee kept the audience laughing with his youthful presentation of clowning and hambone—a style of body music originating from the plantation-era when slaves were banned from using rhythmic instruments.

Truly striking, though, was the brilliant premier of the Barbatuques-Slammin collaboration. Close your eyes and try to imagine the sounds of a tropical rainforest as day breaks—of an orangutan, frog, or rooster. Imagine horns and flutes, the infectious harmonies of a jazz band, and a dance-inducing percussive pulse. Now, imagine all of this accomplished with nothing more than one’s body. In the grand finale, Brazil’s Barbatuques and Oakland’s Slammin All-Body Band transcended barriers of time and space as they moved through a fresh cross-cultural dialogue of diverse body rhythms. The organic, authentic performance pulled from rich musical traditions and transformed spectators into participants.

While the performers departed from expected norms of music creation, I noticed too that the customary categories of distinction (and often oppression), seemed to melt away as well. The first International Body Music Festival opened up an egalitarian space, offering an inspiring exploration into the roots of music and community cohesion.

Written by: Sofia Marin, December 30th 2008

Optimism in E Minor

admin — Thu, 14 Jun 2007 22:52:00 +0000

By Broken Poets

Wordvendor Records

There is a reason I waited so long to review the Broken Poets’ most recent album, Optimism in E Minor. While the album offers a slightly less banal form of contemporary adult rock, its instrumentation and lyrics leave something to be desired.

As producer and front man of the band, Tim McDonald seems to have forgotten the beauty of simplicity. The songs are lyric-centric, but instead of poetry, the lyrics I hear are affected and hollow. Unfortunately, even the instrumentation is excessive and gratuitous. The few characteristics which distinguish the Broken Poets from all the other commercial contemporary rock bands are sadly drowned out by McDonald’s overbearing presence on this album. I had hoped to hear more from classically trained pianist and vocalist Svetlana Antropova, but her potentially unique contribution is for the most part, misapplied and wasted. While contemporary adult rock is certainly not my cup of tea, I could see how listeners of this genre might enjoy Optimism in E minor. However, I hope they would recognize the ostentatious nature of this album.

Written by: Sofia Marin, June 14th 2007

BARR - Live in Philly (2/19/2007)

admin — Wed, 21 Mar 2007 03:50:00 +0000

BARR

Philadelphia, PA

There’s nothing more refreshing than a band who doesn’t take themselves too seriously, particularly when they are this catchy. Even more inspiring is a band who, perhaps unknowingly, manages to deconstruct what it means to be a male musician.

It was my first time. Seeing BARR was a release like no other. Their performance exhibited a seamless balance of blunt honesty and raw optimism. Even before they began their set, the band’s playful interactions and infectious smiles radiated warmth throughout the dim basement of the West Philadelphia venue, Clap It Off.

It was moments before the band began to play their first song, conveniently titled “First,” that I began to realize just how genuine and sincere of a place they were coming from. A slow introduction on the piano and drums gained momentum and intensity, finally giving way to the chaotic and poetic vocals of singer Brendan Fowler. Fowler stumbled over instruments as his earnest emotions poured out onto the basement floor. The drums picked up tempo and a catchy bass line occupied the space as the band moved right into “The Song is The Single.”

Fowler’s flailing arms and staggered legs suggested an openness and vulnerability I rarely witness at shows. It was as if the audience was given permission to read the trembling words and phrases of someone’s diary. We were let into Fowler’s own internal dialogue, laden with uncertainty and candor. The result was a beautifully circular stream of consciousness performance akin to spoken word layered with captivating melodies.

BARR offered the closest thing to a non-gendered performance I have ever experienced. This, in so many ways, was both liberating and reassuring. Was it possible that my notions of “male musician” had been so narrow?

BARR did not take on the stereotypically masculine character that taints so many musicians. In fact, they did what is unheard of for an all-male band. Through their movement, disposition, lyrics and melodies, they were able to expand definitions of gender, music and sexuality, thus blurring these strict and often paralyzing categories.

Written by: Sofia Marin, March 20th 2007