Progressive Wednesday

The big three, part vi.

November 5th, 2007 by Matt

Today, well, today’s our first Monday back in the saddle, so it’s kind of a special Lunes, Lundi, Montag, and Seg around these here parts, partner.

It took some somewhat serious searching, but I hunted around and found a theater nearby (assuming you consider 45 minutes away “nearby”) playing Into the Wild, the based-on-a-true-story flick Sean Penn directed and scribed based on the book by the same name. It’s a must-read (it’s my favorite book for now–I’m assuming my first book will ultimately take over the top slot) and a must-see. But it’s also a must-listen. The original soundtrack was written and performed by Eddie Vedder of Pearl Jam fame, and his grizzled vocals mixed with killer lyrics lift the film to another level like an aesthetic elevator.

So first up, here’s the video for the song “Hard Sun.” Dig it.

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Here’s a poem. (Those of you rolling your eyes, be prepared to have your lids pulled back by the beauty of this gem.) So, like I was saying, here’s a poem by my friend Aimee Nezhukumatathil from her latest book, At the Drive-In Volcano.

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WHEN WEAVER ANTS CUT (A VALENTINE)
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I love the dance of every one helping.
Each ant chews and chews a bit of juicyleaf
and stands on his back four legs to raise
the leaf shape up high above his head.
The congo line—a honey shimmer of bodies
rushing to bring the cut leaf home. For twelve
years, the ruler of Garwara was a jackal.
All the laughing in that town cannot
compare to what you have brought
into my home: a filament of light inside
a dark jellyfish bell. It’s this dance of ants
down a tree, around a stubborn frog—I want
to dance with you—how brave the line,
how tiny the step, a hundred green valentines.

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(Do yourself a favor, buckaroo, and order her book by clicking here.)

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Finally, I’ll toss you a delightful bubblegum-pop softball in the form of “Beverly Hills” by the band Weezer. I’m a fan of this video because it was shot at the Playboy Mansion. And that’s not really why I dig it. I dig it because the irony of the song was lost of Hugh Hefner and his delicate brand of misogyny.