FAVORITE ALBUMS OF 2011

FAVORITE ALBUMS OF 2011

 

A VIOLENT FLAME (COURRIER)

ALL THE BRIGHT LIGHTS (ATBL)

ASHES AND FIRE (RYAN ADAMS)

BARTON HOLLOW (THE CIVIL WARS)

BON IVER, BON IVER (BON IVER)

CAMP (CHILDISH GAMBINO)

ECONOMY (JOHN MARK MCMILLAN)

EL CAMINO (THE BLACK KEYS)

GOLD IN THE SHADOW (WILLIAM FITZSIMMONS)

HELPLESSNESS BLUES (FLEET FOXES)

HURRY UP, WE’RE DREAMING (M83)

KISS EACH OTHER CLEAN (IRON & WINE)

MYLO XYLOTO (COLDPLAY)

THE KING IS DEAD (DECEMBERISTS)

WATCH THE THRONE (KANYE WEST and JAY-Z)

 

ITALICS INDICATE TOP 5.

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Reactions to The Help

REACTIONS TO THE HELP

I always feel the same way when I walk out of a movie about racism, or civil rights, or bigotry, or anything the ACLU would grind an axe about. I suppose I feel the same way when I walk out of all these movies because all these movies seem to follow the same formula: the oppressed party, whether a character, or a group of people, always seems to win. They successfully stand up to their oppressors, always in an admirable way as to maintain the integrity of the definition of a protagonist. And because I, the viewer, have been set up by the filmmakers to identify with the protagonist I feel a sense of vindication and victory, and sometimes even validation.

This wasn’t the case with The Help.

Now, The Help was almost exactly what I expected it to be. I expected a civil rights movie that was primarily about racial issues, but brought along corollary commentaries on feminism and families and parenting, featuring a beautiful and righteous protagonist who faces utterly despicable antagonists to restore the dignity of those the antagonists discriminate against, complete with shocking displays of bigotry and racism that would make my blood boil as i sat in the theatre, and an ending that would provide resolution as the protagonist and the oppressed party claimed victory over their circumstances and their oppressors. And on it’s most basic level, The Help was precisely that.

But I didn’t feel good when I walked out of the theatre tonight after seeing The Help. I didn’t feel vindicated and victorious and validated. In fact, for the first time in my life, I didn’t walk out of the theatre having identified with the protagonist. I walked out of the theatre having identified myself as the antagonist.

When I see a movie about racism in the 50s and 60s I have a tendency, as I suspect many of us do, to think to myself, I’m so glad it isn’t like this anymore. But if I were being honest with myself, I’d have to admit that while discrimination may not be the hot-button issue it was then, that it is still alive in well in the world, and in my own life. I may not be a racist, but I can’t say that I’ve always been comfortable around gay people, or that I haven’t made snarky comments like He looks like one of those guys I went to high school with, or cast quiet (or loud) judgement on whole groups of people on campus based on allegations and reputations that were bestowed upon them by “people like me.”

To be fair, my own prejudices have never led to aggression. They’ve not even come close. And chances are that if you were to ask my closest friends, they wouldn’t carat rise me as hateful, or bigoted, or as having prejudices that manifest themselves in a noticeable way. But they’re there. Somewhere inside my flesh, there are spots on my soul. Spots of superiority and judgement. Spots of pride. Spots of cowardice. And even though I may not be the most prominent or active oppressor of those people in my life that I have reservations about, I have failed, by-and-large, to advocate for them. To preserve or restore the dignity of people who aren’t like me, or aren’t my friends.

A couple years ago I was sitting in a McDonalds waiting on a friend. A man approached the counter to order while talking on his phone, something I’ve considered to be slightly rude ever since I worked at HEB and was faced with the difficulty of serving someone who was trying to carry on two conversations at once. The girl behind the counter was a very young Hispanic girl who spoke with a thick accent. The man on the phone barked his order at her very quickly, as though he were trying to complete his transaction while the person on the other end of his phone were talking. The girl behind the counter didn’t catch it all, and asked him a clarifying question. He responded in short, repeating his order again, visibly frustrated, and then continued to talk on his phone. The girl, wanting to guarantee that she had his order right, repeated it back to him. The man, who was now very frustrated with her, snapped back at her,

“I already told you twice what I wanted. What are you so confused about?”

She apologized, took his money, and completed the transaction without a word.

Minutes later, the man returned to the counter. holding out an unwrapped sandwich in his hand, he proceeded to berate the girl–the cook had prepared his sandwich incorrectly, and in his mind it was the girl’s fault. He scolded her as she apologized over and over, until he raised his voice to a near shout:

“Maybe if you learned some fucking English, you wouldn’t have got my order wrong.”

The entire restaurant heard him. People abandoned their conversations to look up at the man and the girl. The girl looked like she was going to cry. The manager stepped out to see what was the matter. The girl was silent as the man gave the manager his side of the story, not neglecting to mention the girl’s race. And as all of this happened, I sat at my table and seethed with anger. I don’t think I’ve ever wanted to scream as much as I did then. I wanted to defend the girl, and to give that man a verbal lashing hard enough to bruise in front of a restaurant full of onlookers.

But I did nothing. I sat at the table, on the edge of the seat I was glued to, and let it all happen without involving myself.

Some might commend me for staying put, for not acting out in anger. But to this day, I consider sitting silently in observation as that man destroyed that girl’s dignity my most cowardly act, and I find myself even now wishing that I could go back and blow the whistle on the whole thing. In the case of Angry Phone Man vs. Girl Behind the Counter, I chickened out and sided with Angry Phone Man. I chose not to involve myself and chose not to preserve the dignity of that girl whose dignity was under attack.

I didn’t play the role of a hero in her life. I played the role of a villain.

Psalm 103:6 says, “The LORD works righteousness and justice for all who are oppressed.”

I’m far more content to watch movies about other people who do justice, to promote the causes of other people who stand up for those who can’t stand up for themselves, than to stand up and do justice myself. I suppose that it took seeing a movie like The Help to make me think about these things. And if you should see The Help, I hope you’ll be inclined to not simply be satisfied in rejoicing in cinematic displays of justice, but to join me as I do my damnedest to be one who gets his hands dirty doing justice for all who are oppressed.

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One Day Without Shoes

The purpose of this entry is to bring some clarification to a thought I posted on Facebook last night regarding TOMS’ “One Day Without Shoes” Campaign:

“TOMS’ One Day Without Shoes = advertising disguised as activism. Sad.”

This statement stems from two convictions that I have. The first is my own skepticism concerning TOMS’ business model. The second is a trend toward easy activism (“slacktivism”) in my own life and in my peers as well.

UP FRONT:

1.) I am reminded again of the difficulty of communicating my opinions accurately and succinctly in social media (Facebook, Twitter, Tumblr, whatever).

2.) My goal isn’t to antagonize, or to indulge in a debate, but rather to expand on what I admit was a relatively vague and provocative statement, and to organize my thoughts on the matter.

3.) I own a pair of TOMS, although they are more or less destroyed as a result of my recent trip to Uganda.

4.) Shoelessness is a real problem.

 

Here’s where i’m coming from:

I believe that college students like myself (especially the Christian ones) are prone to what’s been called “Slacktivism” (I can’t remember who coined the term. I want to say it was Don Miller). What this means is that we are prone to respond to our internal, innate desire to see justice, fairness, and equality, in the world by aligning ourselves with–and possibly participating in–social justice movements. TOMS represents a response to a real need that real people have across the globe. I do not fault TOMS for responding to that need.

I do take issue with TOMS concerning the following:

1.) Their product is low-quality. If the shoes that they distribute to children are of the same quality as those that they sell in the market (and I suspect that this would be the best-case scenario; it’s more likely that they are of poorer quality), then I wonder whether TOMS is simply providing a band-aid for a bullet wound, so-to-speak.

2.) TOMS doesn’t provide any kind of financial records to the public beyond the vague 1:1 ratio of shoes bought to shoes distributed. Granted, TOMS is not a non-profit organization, nor do they claim to be (although their activism-based marketing strategy has been misinterpreted as non-profit), but for a company whose clientele buys their product on good faith that the money they spent is going to a good cause, I think TOMS should be up-front about how they use the money they take in, regardless of whether they’re legally obligated to do so.

3.) TOMS doesn’t execute shoe drops in an admirable way. TOMS’ policy is that shoes must be ordered in massive quantities and distributed in less than one year (one of our contacts in Uganda was told by TOMS that he needed to order 17,000 pairs of shoes and distribute them in less than one year, and if he failed to distribute all the shoes in less than one year, he would owe TOMS the balance of the remaining shoes). Additionally, TOMS does not deliver shoes directly to the community in need, but rather to the nearest coast, at which point the responsibility to transport and distribute the shoes (which arrive in enormous cargo bins) falls upon someone else. This failure to follow through on the “giving” portion of the TOMS business model is less than impressive to me.

That said, I think One Day Without shoes accomplishes more to raise awareness for TOMS than it does to provide tangible, lasting solutions for children without shoes the world over.

I do believe that spending a day without shoes is a noble thing. Kyle Lent, someone in the Austin community that I admire and respect, said it this way: ”The idea is that our momentary hardship would become a lasting reality of what children go through daily.” The practice of fasting is a Biblical way to experience solidarity with people in need, and also an opportunity to connect with God in an experiential way, and to pray for others (in this case, those without shoes), and while I find no fault in that, I can’t help but be apprehensive about fasting that promotes a business and a business strategy. Additionally, I will point to Jesus’ command in Matthew 6 that fasting should be done in secret, and One Day Without Shoes is built upon the idea that going without shoes draws attention to one’s self.

Personally, I fall into Slacktivism because it is easier for me to promote a cause or movement than it is for me to love my neighbor. It is easier for me to go a day without shoes than it is for me to give something truly sacrificial. Slacktivism provides me the illusion of having loved my neighbor, or cared for the needy, but in reality is a Christless exercise in self-esteem, and does not yield Gospel change in my own heart, or in the world.

In 2 Samuel 24, King David is preparing to make a burnt offering to The LORD, and a man named Araunah offers to provide the materials for the offering to King David, free-of-charge. David, faced with the option of giving an offering to the LORD that didn’t cost him anything, but rather cost another man a great deal, insists on purchasing all of the materials from Araunah at a price, saying, “I will not offer burnt offerings to the LORD my God that cost me nothing” (v. 24). Slacktivism is just this–offering sacrifices to the LORD that cost me nothing, and even possibly cost someone else something.

I hope to always be driven and prompted by the Holy Spirit to give sacrificially, to fast appropriately, to communicate effectively, to love unconditionally, and that the words of my mouth, whether spoken or typed out, would be acceptable in God’s sight.

 

-mt

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Favorite Albums of 2010

Favorite Albums of 2010


Band of Horses, Infinite Arms
This was my favorite album of the year for quite awhile. It’s a baby step in a different direction for BoH, and it’s not a bad direction. Favorite track: “Laredo.”

Pete Yorn, Pete Yorn
I love Pete Yorn. He’s sort of an everyman in an industry where being a hip singer-songwriter means that you studied writing at a private liberal arts school in the deep north and record all your records on analog equipment in your parents’ basement. Pete Yorn isn’t hip. He’s cool. Hipness is fleeting. Favorite track: “Precious Stone.”

The National, High Violet
High Violet was easily my favorite of the year. Brilliant writing. Brilliant composition. Brilliant execution. Brilliant fashion sense. Favorite track: “Bloodbuzz Ohio.”

Mumford and Sons, Sigh No More
This is everyone else’s favorite album of the year. It’s a good album, but we’ll see whether it’s a great one after Mumford and Sons release their second record. I think there’s a tremendous possibility that they’re a one-trick-pony. Favorite track: “Dustbowl Dance.”

Matt McCloskey, Let it Burn
Matt is an Austinite who just might save Rock n Roll. Keep your ears peeled. Favorite track: “Nashville Sun.”

Kings of Leon, Come Around Sundown
Less epic than Only by the Night, and it’s refreshing. Come Around Sundown feels homey and down to earth; it feels like the album that the Kings were meant to make. Favorite track: “Pickup Truck.”

Trent Reznor and Atticus Ross, The Social Network
This score made the movie. And it’s proof that Reznor is one of the most significant artists making music right now. Favorite track: “In Motion.”

Hans Zimmer, Inception
Everything that Hans Zimmer does is pure gold. But the Inception score was absolutely unreal. Jonny Marr’s guitar work is phenomenal as well. Favorite track: “Time.”

Honorable Mention: John Mark McMillan, The Medicine (Technically it was released independently in 2008 before its 2010 release. But I picked up the 2010 version and it was easily among the best albums of the last year for me, and by far the most inspirational and influencial).

 

Them’s the favorites. What did you like?

-mt

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Gear

For those who are wondering, here’s a brief overview of my guitar rig.

GUITARS:
2004 Fender ’52 Reissue Telecaster w/Bigsby (Japanese)
2003 Fender ’72 Thinline Reissue Telecaster (Mexican)
2004 Fender Highway One Telecaser (American)
2003 Ibanez Artcore AS-73

PEDALBOARD:

Board:
40×20 Road case by Island Cases. Custom board designed and built by Jeremy Brown. Monster lead cables, Planet Waves Cable Station patches.

Effects:
Voodoo Labs Pedal Power 2+
JHS Pedals Little Black Buffer
MXR Dyna Comp
JHS Pedals Double Barrel Overdrive
Fulltone Fulldrive 2
ProCo Rat II
Ernie Ball Volume Pedal→ Boss TU-2 Tuner
Boss DD-20 Delay
Line 6 DL-4 Delay
Boss RV-5 Reverb

Not on the board:
Dunlop Crybaby Classic Wah
Boss TR-2 Tremolo
Boss DD-6 Delay
BBE Boosta Grande
Visual Sound H20 (1st Gen)
Ibanez FZ-7 Fuzz

AMP:
2003 Fender Hot Rod Deluxe

- mt

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25 Most Influential Albums in my Life

Criteria:

a. Only one album per band/artist

b. No compilation packages: original release albums only.

c. Just because I picked a record doesn’t necessarily mean that it’s my favorite by that artist, or that it’s their best album. It just means that it influenced me the most (could be because it touched me emotionally, or inspired me musically…etc.)

1.)  A Rush of Blood to the Head (Coldplay)

2.) The Joshua Tree (U2)

3.) For Emma, Forever Ago (Bon Iver)

4.) Kid A (Radiohead)

5.) Live in New Jersey (Pete Yorn)

6.) United We Stand (Hillsong United)

7.)  Conditions (The Temper Trap)

8.) Chunk of Change (Passion Pit)

9.) The Queen is Dead (The Smiths)

10.) Disintegration (The Cure)

11.) The Sparrow and the Crow (William Fitzsimmons)

12.) White Ladder (David Gray)

13.) A Mark A Mission A Brand A Scar (Dashboard Confessional)

14.) Transatlanticism (Death Cab for Cutie)

15.) Only by the Night (Kings of Leon)

16.) August and Everything After (Counting Crows)

17.) Cease to Begin (Band of Horses)

18.) Love is Hell (Ryan Adams)

19.) The Earth is not a Cold Dead Place (Explosions in the Sky)

20.) Good Booty (Tom Petty and the Heartbreakers)

21.) Bringing Down the Horse (The Wallflowers)

22.) Mutemath (Mutemath)

23.) West Texas (Sleepercar)

24.) Version (Mark Ronson)

25.) American IV: The Man Comes Around (Johnny Cash)

Who influenced you?

- mt

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Guitar Heroes

The Edge, U2

Duh.

Favorite Tracks: Where the Streets Have No Name (Joshua Tree), City of Blinding Lights (How to Dismantle an Atomic Bomb), Magnificent (No Line on the Horizon)

 

Matthew Bellamy, MUSE

Matthew Bellamy is easily the most creative guitarist to emerge in the last decade. He has X/Y pad midi controllers in his guitars, for crying out loud. And he can pull off anything and everything he played on the albums live—while singing. Many of the sounds on MUSE’s songs that sound like pianos and choirs and strings are really his guitar run through a synthesizer. Awesome.

Favorite Tracks: Invincible, Knights of Cydonia, Map of the Problematique (All on Black Holes and Revelations)

 

Jonny Buckland, Coldplay

Jonny Buckland made me believe that it’s cool for guitarists to play slow, melodic lines instead of fast bendy lines. He gets compared to The Edge quite a bit because they both use delay pedals, but I think he’s highly original. He’s the epitome of “less is more.” Listen closely, and you can see how Coldplay’s songs would fall apart if it weren’t Jonny Buckland playing them.

Favorite Tracks: Lovers in Japan (Viva La Vida or Death and All His Friends), Fix You, The Hardest Part (X&Y)

 

Johnny Marr, The Smiths

Johnny Marr is the godfather of indie rock guitarists everywhere. Morrissey’s lyrics may have created The Smiths’ image, but Johnny Marr gave them their sound and their swagger. He played on Hans Zimmer’s score for Inception and totally made the score, which (as is often the case) made the film.

Favorite Tracks: There is a Light That Never Goes Out (The Queen is Dead), Stop Me If You Think You’ve Heard This One Before (Strangeways Here We Come), Mombasa (Inception score)

 

Mike Campbell, Tom Petty and the Heartbreakers

Mike Campbell doesn’t waste a note. Ever. Anything that comes out of his guitar is completely intentional. He doesn’t need to show off in an effort to look cool, which in turn makes him cool.

Favorite Tracks: Learning to Fly (Into the Great Wide Open), Waiting for Tonight (Nobody’s Children), 6th Avenue Heartache (w/ The Wallflowers, Bringing Down the Horse)

 

James Duke, John Mark McMillan, All the Bright Lights

I spent seven years of playing guitar chasing a sound that I heard in my head, only to discover that James Duke found it first. I love the way he plays slide parts—ambient and simple, just giving the song breath. He serves the song, and doesn’t just try to get himself heard, and in doing so, his parts become more memorable. Brilliant.

Favorite Tracks: Dress Us Up, Carolina Tide, Out of the Ground (w/ John Mark McMillan, The Medicine)

 

There you have it. Who are your heroes?

- mt

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An Open Letter to Craig Newmark

The following is an open letter to Craig Newmark, the founder of Craigslist.

Dear Mr. Newmark–

As a musician and college student, I have a special relationship with Craigslist. I’ve bought a number of items that I found on your site, and recently put up my first For Sale ad as a Craigslist user. I was very excited about becoming more involved in the Craigslist community.

However, I was heartbroken when I read CNN’s August 3rd article regarding the presence of child sex ads on Craigslist. Moreover, I was sickened to read that Craigslist has done nothing tangible to advocate for the sex slaves—especially those who are children—who are for sale on your site. I was also very troubled to see that historically, your response to situations like these has been both defensive and careless. Don’t you see that to recklessly avoid taking action against such things is to stand in support of them?

Mr. Newmark, I’ve always believed in the power of a community of people. Your website is remarkable because it takes people from so many various social circles and economic backgrounds who would normally never have anything to do with each other, and turns them into a community. It takes fragments and turns them into something whole.

Because of this, Craigslist has a unique opportunity to play a significant role in the fight against sex trafficking and modern-day slavery. Please do the right thing Mr. Newmark, and remove the “Adult Services” section from your website, and take the opportunity not only to draw awareness to the existence of modern-day slavery and the global sex trade, but also to deal a heavy blow to the sex trade in America. It is my great regret to say that as long as you support the buying, selling, and trading of human beings for sex, I cannot enjoy the many benefits of your website with a clear conscience, and will no longer attempt to do so.

I believe that you have a chance to play the role of the hero in the stories of many whose bodies are currently for sale on your site. You have a chance to overcome evil with good. I pray that you’ll not let the chance to do something great pass you by.

Matt Tolander
College Student, Musician, and former Craigslist user
Austin, TX.

EDIT, 9/13/10: Thanks to the combined efforts of numerous groups and individuals, Craigslist has removed their Adult Services section in the United States. Thanks to anyone who fought for this. I will now resume using Craigslist. – mt

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Five Venues I Want to Play Before I Die

The Bowery Ballroom (New York City. Max Capacity: 550)

The 02 Arena (London. Max Capacity: 23,000)

Stubbs (Austin. Max Capacity: 4,200)

The Concert Hall at the Sydney Opera House (Sydney. Max Capacity: 2,700)

The Isaac Stern Auditorium at Carnegie Hall (New York City. Max Capacity: 2,800)

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March 4, 2010

Today, I received one of the highest compliments of my life:

“I believe you are going to change the world, Matt. I really do.”

Challenge accepted.

mt

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