Alt Nerd Rap Dispatch

"I went to school to become a philosopher 

but dropped out to be a sober Kid Cudi imposter."

Milo is a rapper, notorious by his nerdity, and nearly absurd by the fact he has rapped about the time he (might have, allegedly) cried on an internet message board due to real world awkwardness. He exists somewhere in the altstream of rap, in the neighbourhood of Open Mike Eagle, Billy Woods, and Busdriver (there's a strange proximity to Kool A.D. with less psychedelia).

Milo's verses are accomplishments in multisyllabic delivery, and if his vocabulary isn't as large as Aesop Rock's, he's closing the gap at an alarming rate. He may well represent the pinnacle of that most critical subgenre, Nerd Rap. He might also represent alt rap's great hope – a sublime counterpoint to everything that ever buried intelligence in favor of style.

Not to say that Milo is the answer, that an answer is needed, or that mainstream rap are necessarily unwoke. Milo is a rap moniker or nom de rap for Rory Ferriera, born in Chicago, raised in Maine, and lately an L.A. [un]based vegetarian, touring at the time of this writing. Seems to like Vonnegut, definitely read his philosophical tracts at some point, and pointedly represents the defiant vanguard of rap. Nerd territory stuff.

Literature as Film in the Epic-Franchise-Commercial Mode; or, The Hobbit Trilogy

The Hobbit: Battle of the Five Armies was sullied by many things. It smelt of the boardroom, for one. It was kind of uncool to the source material, for two. And for three (threes are gonna be important): parts of it functioned as a commercial for a video game and quite possibly a theme park addition as well. Don't be surprised if in the next five years a middle-earth theme park opens (if it hasn't already, I am not bothering to look). And it wasn't just the action scenes, major characters were added to make it right. Maybe you don't care, but if this were middle-earth, then there is only a handful of villains spooky and evil enough to think up such a subtle and convincing marketing scheme.

Another thing you might have noticed if you watched it (and it was a grand spectacle, there is no denying that) is how each movie had at least one theme park ride of a scene in it. For instance the sterling standard of 'theme park ride scene' that anybody could recognize is the barrel escape (lazy river/barrel ride variant) from the second movie in the series. There were other such moments... I can't afford to go back to document them.

I'll admit, I'm the wrong person to point this out. The last time I read the book I had not yet lain with a lover, driven a car, or drank alcohol. I read The Hobbit at least five times. It's a slim volume packed with adventure, humor, and the odd dwarf song/elfin slam poetry session that you may skip if you're a kid. In short: it's brief, to the point, and quite fantastic. I don't think there's a lot of modern fare that could boast it was better, if any. It might be the best, but I don't indulge in fantasy as such anymore, so I don't know. In my mind it gets the gold.

However that's not even to the point. To clarify: I may be the wrong person to look upon the Hobbit Trilogy Franchise because as soon as I heard it was to be a trilogy I already thought 'Oh, oh no. This is not how things should be. I must ride... to New Zealand!' because damn it all, it is not impossible to pack the whole little book into a single two and a half hour (three and a half extended) film. It could've been done, it would've been considerably more exciting, taken more skill, more risks with narrative, trusted the audience more... in essence it would've been greater than it was, doing more with less. I'll state that one of my chief contentions with the modern world is its increasing inability to do more with less, and how it instead does less with more, and leaves the increasingly tone-deaf uncritical audience squalling with idiotic delight anyhow. That is the degradation brought into the world by the explosion of Nerd Culture... that is what has been wrought. I will say no more at this time.

It would've taken skill to condense the story into a manageable screenplay. It'd take some 'hard' decisions like throwing Frodo Baggins and Legolas out, which would've saved about an hour. All the backstory nonsense could've been stripped out (1.5 hours), the business with the Necromancer could've handled as it was in the book (saving roughly another hour), and the love story could've been shit-canned (which would've hurt Orlando Bloom's feelings and destroyed Evangeline Lilly's lifelong dream of playing a cute elf – and also saved another hour and a half). So with basic, sensible ideas I have already cut the length of the movie by 5 hours, making my originally stated aim possible. Plus I'm reducing the budget - you're welcome.

There could've been less bloat in this fantastic franchise vehicle. I won't say the series is shit. It's pretty good – not as good as the LOTR movies (which confronted me with less major issues, though the omission of Tom Bombadil was unforgivable) but I suppose that's the price you pay when Nerd Culture rampages through the things you loved as a child. The technical achievement of the movie cannot be understated: many talented people worked hard to make it happen and I do not deride their efforts in saying the movie could've been better. Parts were cheaper than I liked, and cheapening the source is somewhat of a sin. And sometimes it all looked a little plasticky, a little too videogamey for my tastes. Which leads to the most interesting angle: the commodification of middle-earth.

What really burned me, what really made me feel squeamish, and what really sullied and cheapened the experience is the fact that it was a big old commercial – a vehicle to create retail appetite in the viewer. As stated earlier, it was a subtle one (or at least subtler than Transformers), but not too subtle for this viewer (who, cards on the table, never played Shadow of Mordor). The game was quite hyped and the movie was incredibly hyped, so much so that I, who was quite outside of the media ecosystem, still heard more than enough about the trilogy's finale. Two rentals and a discount midweek viewing later I had all the facts at hand to make my dismal voice heard in the matter. I was free to state my opinions bloggishly, and I knew I had to.

The videogame-like action sequences (when Galadriel, Elfin Agent Smith, and Saruman battle the ghost skeleton warriors springs to mind, or almost every other major straight-up fight or battle) set the tone to a degree where I cannot hold my peace. Watch the rhythm of the fighting, artificial enough in execution, and you can almost imagine someone pressing B three times and forward once on the joystick to execute a daring feint or parry, or the blatant finishing moves... not that filming the chaos of battle with any fidelity is possible in a staged event, but care should be taken to keep it separate from interactive experiences. The choreography doesn't have echo the digital dance. One can almost see the gang teaming up for an epic loot raid, Radagast complaining meekly about having to buff everyone and that he's got to go to sleep while the rest slash meaninglessly at a big enemy, hacking away the health bar and exchanging terse gamese jargon.

Most of my contention stems from the final movie, when all the pieces fell into place, confirming my suspicions. Azog the Defiler is a clear Shadow of Mordor Nemesis-system entity, and so is Golg. The final fight at the end, gratuitous as it is, is nothing more than a winking reference to the videogame. The whole backstory of Thorin and Azog is basically an example of the Nemisis system – wherein you slay an enemy only to find out it survived, gained power, and has your death on its mind. Their final battle is so on the nose that I had to Google, Yahoo, and AskJeeves search about the commercial theory, and finding nothing begin to write this very post you are reading. The media are so interlaced it boggles my mind, and chilled my enjoyment of the show. Also there's a little part in the second movie where the gang climbs up a blocky staircase that looked specifically Minecraftish... dreary, maudlin, maybe even unintentional, but I could not escape the connection.

The writing could've used polish and was almost painfully amateurish at times. Dain repeatedly saying bugger as if he knows of no other term for orc. The 'forcing the hand' of the Necromancer (this phrase is used and reused so much as to be admirable - a true testament to recycling lines) is the only idiomatic phrase the writers seemed to know. The love story is filled with lines that groan under their own dull and predictable weight. The earnestness with which the lines are delivered is sometimes their only saving grace, but all deviations from the book are apparent because the lines are either too flat or too flowery, and the actors make them work, but a critical ear will hear what it will. The Master of Laketown and his wormish assistant are so baldly written they become parodic, which was out of place in a movie that took almost everything else too seriously. I did enjoy Stephen Fry's portrayal for all that, but it was really very super on the nose... a little subtlety would've carried it far. The wormish guy was just... feh, super overdone, even a deaf-blind fish would've grimaced a bit at the character as he kicked infants and old women, exhibited unrealistic cowardice, stole gold from the poor, and threatened to transform into a cartoon villian. I don't recollect if they were this blatant in the book, but probably not. Tolkien was a little subtler than that.

The schmaltzy love story was for the girlfriend, the insipid video game action sequences (you can literally tell when a character has unlocked Quad Damage, Rage Counter, or God Mode by how easily they plough through the abundant fodder enemies, and there must be Life Regeneration going on) were for the boyfriend. Good for more than dates, even, but best for dates... millennials will go crazy for it. Everyone will love it, in fact, except the critics and who gives a shit about their pernicious skepticism? What a perfect creation, what an essential excretion of our era – a timeless expression of the values of 2014. The book got shafted again by the light rays of the cinema, the synergistic marketeering of commerce, was it ever any different, et cetera...

Finally: what's up with the alleged Brian Cranston cameo? It might be the most underlooked part of all, and the least offensive. I truly hope that it was Brian Cranston I saw at the horn-blowing sequence after the battle... others have noticed it as well, but I'd like to know more. If anyone gets the DVD/BluRay, please do screenshot that moment and post it. It would be good to confirm or deny this one.

There could also be a great two-hour epic of all the walking scenes in the entire Peter Jackson middle-earth series. I wouldn't watch it, but it would be hilarious enough after five minutes of steady walking in various beautiful locations.

The Interstitial Garbage Dump

Download the album automatically and don't listen to it at all and chuckle at the ensuing media firestorm sinking an irrelevant brand.

Pick a new role for yourself online, let the psychosis of the internet really get to you, really inhabit its odd corners, muttering constantly about incredible things with an awesome potential to alienate others while also alienating you. Get really huffy about something like everyone else is doing!

The newest sensation is a good way to get views and followers. Yet there is a way to do it properly and it may only be to create some bot account twitter, where you are the bot, retweeting an oblivious feed via buzzy logic and reimagining news stories in the naive or Socratic mode.

You ramble about the newest sensation. There is the Rob Ford Saga, pt. 6, and many others. Or work on the themes: What the Hell, vol. 1; Wild Internet XXI; My Fat Twitter Diary; Fail-o-sphere 2.5; LOLNET... the internet possibilities are endless. If you want success, stick to the sensations and try and become as media literate as you can in the broadest sense. Make a vid or two. Don't use memes stupidly and try not to play irrelevant or annoying ones unless you're really good, memewise.

No it doesn't need to make sense. It only needs to make sense interstitially and occasionally. The savvy user reads between the lines anyway.

Whatever happened to Nerd Culture? It got really quiet and samey, growing like a benign tumor on the cultural wasteland of 2014, a cyst overfull of information and inflated by its handlers. The newest game is all design and art, game be damned. The digital grindstone. "Only moonlighting in reality these days."

The dramatic currency wars. Fading economies. The thriving era of Cannibal Orphan Globalism. Violence signalling like flares in the dark that something is still terribly wrong and broken, help is needed, and the constant fear that everything else will get dragged in again leading to some monstrous cataclysm. Orphans of the species make further orbits for a couple of hardscrabble years, looking hungrily at a succession of pure nights.

We have a responsibility to do what we can and not let it get to us, try though it might. Is it our responsibility to look into things, risking mental corrosion and flights of fancy? Who can say? This blogger certainly can't. Casual self-reflection is probably a good habit unless it leads one too far inside. Introspection is only half the story at best. What seems impossible is always categorical: do all questions lead somewhere?

The internet provides a constant potential to feel extremely negative and anxious about everything, a literal bottomless pit that only exists insofar as what exactly? Personalized algorithmic experience, digital rat maze, the netscape, first and last frontier; possibly the end is in sight.

What the wreck of news journalism reveals is a world still running amok. Things are in some ways better, but things are worse at least existentially for all and are really not that great for most in any case. In the best case a global society awakens, ignores its differences, and forces the start of a new era divorced from as many of the ignorant sins of the past as possible. But realistically a continuation and intensification of the recent past is most likely, for at least a few more decades, by which time it may truly be too late.

The net decline of genetic diversity correlates to a net decline in the value of Earth, beyond merely a pruning of the tree of life as some non-alarmists would argue. If people were as carefree about their dollars everyone would be a millionaire, economists would be philosopher kings, and there would be no world hunger. Funny how more or less pure capitalism, either way, could solve a few problems. The law of mediocrity is by definition only fair to a small percentage. If we made it, could it rule us? What does it matter when the toxic cloud is already here, and has been for dozens of years?

The realist perspective is not individualistic, but there will always be the allure of a heroic self-narrative and/or other fantasies. There is not enough realism left, as if the horrors of the 20th century exhausted our ability or willingness to see things as they are. How will we advance beyond being troops of apes? Will we? Is the criticism even valid? We cannot truly say things are purely otherwise yet. The symbolists can prove it.

It is best to ramble about things awhile. Puzzle them over over a beer or so with a friend or friends who are looking to ruin your line of thought by thrusting their own into a collision with it. Whatever, anyways, right? Whatever...

The Nerd Bubble and its Inevitable Collapse

It seems as if every contemporary identity conforms tightly to passively consuming the dismal excretions of this benighted age. Wherever you look, there are people insisting that what they are consuming is correct and necessary to a happy life. There is always the insistence that 'my kind need X too' (as if it were a surprising epiphany) and other ridiculous rhetoric such as inherent uniqueness. These beliefs have always been enthusiastically embraced, ruthlessly mocked, or completely ignored depending on the relative wisdom and maturity of the observer. There is one sort of contemporary identity that excels at absorbing all others and is generally 'on the make' as they say.

In 2007 there began an incredible shift in the behavior of Ur Hipsters, and/or they were found to possess certain interests and traits that, innocently enough, bordered the long dormant cultural powerhouse sometimes referred to as 'nerd culture'. Suddenly the coolest individual at the bar who liked the right music, played on the most epic amateur sports team, fucked the most attractive people, and partied the hardest was busy painting W40K miniatures as a hobby, played D&D on Sundays, and knew how to code. By 2013 there is a weird sense in the air that 'nerdy' pursuits and habits are necessary just to communicate.

It is as a certain bad 80's movie had prophesied. Like any decent historical inevitability, the rise of nerd culture was complex and in many ways self-fulfilling. The smart, awkward kid getting bullied in the 70's and 80's grew up into a normalized yuppie or yupster or suave po-mo individualist making good money doing engineering work or intense research or crucial computer work. Good or bad, they acted as the lifeblood of modernity. Their progeny, the current generation of 'young nerds' and/or the current 'nerd wave' movement, is an entirely different animal. Arguably, despite the surprising population of well-adjusted and balanced nerds, there is evidence to suggest that the much of the modern wave is quixotic, dysfunctional, and generally disinterested in aging measures of success such as social popularity, physical fitness, conformity, and party intensity.

I always get the idea that the mainstream nerd movement left the rails completely in the early 2000s. I get this idea because of the link posted above, wherein (and you might have missed this) a reality TV show tailored to nerds actually existed. The comicbook-style text boxes were so tasteful, so apt. There never was a nerd movement as such (as it was anecdotal to many other factors), but the word itself has gained such traction with increasing numbers of people, that one might rightly be said to exist at this point. And to be perfectly blunt, from the perspective of the modern identity fetish, it was probably a long time coming. Also completely inevitable. Mind you: I am no expert on nerd history, nor would I ever claim to be one.