I love Doseone. One of his many pastimes is making video game music (no clue which ones). He ended up performing at a PAX convention (a big video game convention). I have no idea why, but what went down is particularly amazing:
This post is an ongoing post.
Hüsker Dü – “Candy Apple Grey”
RIP Grant Hart. Hüsker Dü is one of the best American rock bands Q.E.D. This is their first big studio album, but their fifth overall. Engaging and creative as all of their albums are.
Pavement – “Slanted and Enchanted”
A true classic that is not too serious or too silly. Pavement was part of the 90s lo-fi alternative scene (Sonic Youth, Guided by Voices, The Fall etc.), but in my opinion they had a distinct voice that was a bit GBV/Fall mixed with Dead Kennedys and Dead Milkmen. Literally everything about Pavement you will read will bring up The Fall comparison, which is just silly and inconsequential. Block that out, Pavement, and this album, are awesome. Slanted sounds amazing even today. I have yet to find someone of any age that can’t at least tolerate it being on.
Dr. Octagon – “Dr. Octagonecologyst”
Dr. Octagon is Kool Keith, Dan the Automator, DJ QBert, and Kutmasta Kurt. was a side project concept album that became a classic. This album made a dent in the larger hip-hop arc while remaining fairly underground. The album is even cooler than its name. The sequels are not Kool Kieth sanctioned and likely suck. This is an album that could never be duplicated again in spirit. In fact, Kool Keith made a concept album whose persona kills Dr. Octagon (twice). Octagonecologyst is a perfect hip-hop record in my opinion. It has very creative beats, the poetry is deep and wide, and it showcases brilliant turntablism.
The Smiths – “The Queen is Dead”
This is my favorite Smiths album, but most of my favorite Smiths songs were not on albums (panic etc.). All of their albums are great, but if I had to only keep one this would be it. The range of topics and atmospheres on this record are remarkably broad. Songs like Vicar in a Tutu are dark and whimsical at the same time.
GZA – “Liquid Swords”
Liquid Swords is one of the best hip-hop records period. For me, this records is close to flawless. It feels like a rare accidental masterpiece, except GZA is incredibly talented and RZA (on the beets) was at his peak here. I am not including about ten other classic and incredible Wu-Tang solo records that prove this was no fluke. The story of the 36 Chambers era of Wu-Tang was the RZA basically stayed locked away in the basement working his a** off on the first batch of solo records as he knew the Wu was on to something. On this record, you can hear RZA and GZA psychotic dedication. Killah Priest deserves props for BIBLE, which is an incredible track, but it also fits this record perfect. KP also drops an exceptional verse on “4th Chamber.”
De La Soul – “3 Feet High and Rising”
This album was so good even De La Soul had issues with it. The lore is that the band was super pissed off at the mod aesthetic Prince Paul was able to pull off. Today, we would say this is the first hipster hip-hop album. It is not an understatement to say this record created a new arc in Hip-Hop at the time. It was an arc that A Tribe Called Quest, KMD, DJ Shadow and others would happily follow, but one that De La apparently were happy to distance themselves from.
My fondest memories of this album are from skating. I skated with three factions of skaters and I could find a slice of this album that appealed to each.
311 – “Grassroots”
I like too much music to have favorite bands, but 311 is the closest thing I have to a “favorite band.” They are certainly the band I have seen live most often, and I’d skip just about anything but a Talking Heads reunion to see 311 instead. I think 311 is more of a live band than an album band, but their first four studio records are all exceptional, and a bit underrated. Grassroots is their second record and it captures what most fans see in their live performances best. Grassroots is just one of those rare post-1990 records that you can throw on and let it play through, even on repeat and it just works. It was their sophomore record, but they were grinding small venues building their fanbase bit-by-bit, and the love and energy shines through on this record.
311 is both loved and hated for blending rap, rock, reggae, lovers rock, English Beat style alternative and math rock, but in my opinion this is the record where all of their influences come together in the most unique and seamless way. I’m not certain, but I bet if you were to look into their most frequently played live tracks, the top five would be from this album. My second favorite love song is “8:16 AM,” which is fresh, simple and beautiful.
Not technically about grassroots, but great:
Captain Beefheart & His Magic Band – “Trout Mask Replica”
Perhaps one of the most hipster albums of all time. Don Vilet was very interesting and I am a fan of essentially all of his music. One thing I love about music is its ability to contextualize non-sequiturs and this album is a celebration of this. I played this record for my daughter when she was six and she loved it. She is a few years older and still remembers hearing it the first time. When I played it for her, I did so without any pretext. The reason I mention that is albums like this tend to seem interesting to some because of its mystique and the cult of personality around the artist. While I do think the story behind this album specifically is very interesting, I believe this album to be a true triumph that will still be relevant 60 years from now.
DJ Shadow – “Entroducing”
Entroducing is one of those albums that is lauded for its impact on the way music is made and the music itself. It was and still is a beautiful album.
David Axelrod – “Songs of Innocence”
Fitting to mention after Entroducing. I worked for a very smart man who introduced me to this after hearing a sample in DJ Shadow’s Entroducing that I was playing. Axelrod was DJ Shadow’s biggest inspiration. Axelrod was a key behind the scenes figure in music history. He was also an exceptional musician and this album is a great example of his talent. Timeless sound. I think this record starts off better than any other record I’ve heard.
Master P – “Ghetto D”
This is admittedly very different than any of the other records. I have a lot of respect for this record, but not because it is a musical triumph. Nevertheless, this record is terribly fun. It was a party staple in my teenage years, and I bet it would still get a room full of teenagers moving. This record was peak “No Limit,” which was a very consequential era in hip-hop’s arc. Master P proved to be a good artist and businessman and cast a mold that would transform the rap industry in a way that we can still see.
Technically about the preceding “Ice Cream Man” record, but same difference:
Pj Harvey – “Rid of Me”
I love PJ Harvey and this is my favorite of her records. 50ft Queenie!
Erasure – “The Innocents”
I’m a fan of just about all of Erasure’s material (the new albums sound great too). However, I’m torn between “Chorus” and “The Innocents” as far as my favorite record of theirs is concerned. I think that “The Innocents” is the most consistent of all of Erasure’s albums. “Chains of Love” was the breakout single on Innocents, but the whole album is stellar. If you have any interest in pop dance, this is a rare pop dance record that you can put on just about anytime and play all the way through. If you’ve never given Erasure a chance (you should), this is the place to start.
On the remaster (worth it):
Metro Ranks Erasure (they messed up their numbers 🙂
Daedalus – “Invention”
Daedalus is an amazing artist. First, what a coup on being the first to distinguish that name in music. Second, he puts out material at a rate that is staggering. Third, his catalog is as diverse as it is deep. From a traditional record point of view, “Invention” is hands down his best record. Invention is also a stellar record period. This record is one of many beat records in the same vein of Entroducing, but it is a distinguished entry in that catalog. The samples used here are inventive and used in an inventive way. For example, Daedalus uses dot matrix printer sounds in places that seem natural, so much so that you wouldn’t know what it is. I liken Daedalus to Wylie Dufresne, and this album is WD-50. Much like Wylie’s food, Daedalus makes music differently than most, but he is a musician and his goal is to make good music, not to just experiment. Madvillain proudly samples “Experience” for Madvillainy’s “Accordian.” This album is even better than its cover, which is pretty damn cool.
B-52s – Cosmic Thing
Charisma and Peanut Butter Wolf – Big Shots
Themselves – Crownsdown
Fantastic album. There was so much ‘alt-hip-hop’ clap-trap in the mid 2000’s that I feared the good stuff would get buried by all the navel gazing. F’ that, CrownsDown is a killer and unique sounding record.
The Clash – Combat Rock
David Bowie – Low
Matthew Sweet – Girlfriend
Aesop Rock – Labor Days
Led Zeppelin – IV
Los Stellarians – Cholo Soul
KMD – Mr. Hood
MF Doom – Operation Doomsday
Madvillain – Madvillainy
I accidentally bought the 12″ for “Moneyfolder” and I was pissed off. I was buying records at an awful record shop in San Antonio, Texas. SA has some decent record spots, but not “the” record shop. These clowns re-shrinkwrapped all of their hip-hop 12″s for some reason they couldn’t explain. For this record and the aforementioned 12″ the names in the upper right were obscured by three different price tags.
I was putting together a hip-hop set for a house party and grabbed the 12″, with art similar to the album, and set it aside to see if this was an MF Doom thing (was a big fan since KMD, see above). I was skeptical because there were a ton of bootlegs of Doom’s “special herbs collection” and bootlegs of “Operation Doomsday” as it had been out of print in CD or vinyl. I was also not certain what the actual price of the records were because of the crazy multi-labeling. At the time $5 was the correct price for a domestic 12″, but the labeled prices were well north. I grabbed a copy of Adventure Time’s record and a handful of 12″s that I believed I could afford if I got hit with the high price. Long story less long, I had to make a hasty funds-related decision at the check out line and ended up selecting Money Folder in a flummoxed state. I took the damn thing home and I was blown away. It was a track that was a clearly new direction for Doom and clearly Madlib beats (I had been big on the Quasimoto record and the YNQ stuff). I dug around for enough cash to go get the full record and the next number of weeks it was Madvillain nonstop. Killer record that is still ridiculous good.
Quasimoto – The Unseen
The story of Peanut Butter Wolf and Madlib’s relationship is really interesting. I really hope they write a book. I know there is a Stones Throw documentary and endless interviews. But, I really want to read the long-form version outside of a directed interview grid.
The Quasimoto record is reportedly one of the many records Madlib was negative to indifferent too until PBW harassed him into releasing it. This record in many ways feels like a Madlib autobiography told over psychedelic-blunted jazz beats through the rants of a domineering alter-ego. During the 2016 election I really wanted to dub the republican debates with Trump spouting out snippets of this record. I’m not getting into the +/- of that guy, but no doubt the Republican primary was crazy. He slay’d 12 fools by being full Trump and I just kept thinking The Unseen was the primary’s soundtrack:
“It’s Lord Quas droppin’ shit like some horses
Iritate your mindstate have you split like divorces
Of course it’s the new breed fuckin’ up the mainstream
Plus we gon’ gain cream
Keep doin’ the same thing
Elevatin’ styles beyond explication
Turned up the notch increase the amplification”
Would have been cool. An interesting project is there for the taking. Regardless, this album is rich and smooth. It fits damn near any mood and to this day I find something else to like about it. I love Madvillainy, but this is Madlib’s best work IMHO.
Gus Gus – “Polydistortion”
Sasha and John Digweed – “Renaissance”
This is not an album, but a dance mix CD. It is hard to fully capture the impact this release had on dance music, and the music industry in general. There were mix CDs before Renaissance, but they were made for a short format and most were (are) forgettable. Renaissance was a three disc endeavor designed to capture the feeling of the multi-hour sets Diggers and Sasha were crafting at the eponymous UK club. Being able to hear this kind of house music (acid and progressive house) outside of the club was close to impossible before this. The two DJs captured the trajectory of house music perfectly in this mix, and they catalyzed its assent with it as well.
The mix was near impossible to get a hold of after its first shockwave and print run. Most of the artists whose music was part of this mix blew up big time after Diggers and Sasha put them on the map with this. This had the effect of making it impossible to license many of the tracks again for a second printing. It remained out of print for ~10 years and re-released with some various Deconstruction Records (ironic as they were Sasha’s label) left off. Since, those tracks have been cleared and I believe if you dig this up on Spotify you will get the OG mix. The mix itself is still enjoyable. It is hard for me to judge how timely it sounds as I am too close to the music, but when I play it or recommend it, people still enjoy it. Worth checking out if you are a house/EDM fan.
Way Out West – “Way Out West”
Speaking of Deconstruction …
Tom Waits – “Rain Dogs”
I like Tom Waits, but I love “Rain Dogs.” This was one of my first records that I picked out for myself. I loved the cover and I’ve loved the music ever since. The record is just as complex musically as it is lyrically. This is one of those records that just grabs you.
“Confetti in my hair”
Nina Simone – “Emergency Ward”
Nina Simone was crazy productive. This record had some “in concert” songs, but it wasn’t all recorded live. Doesn’t matter at all, this record is amazing. It also has a clear purpose and she did perform these songs as a medley, in a series of performances that were directed and purposeful. It was played at military bases and related areas. This was intended to be a statement on the Vietnam War. To that end, I think RCA did her a disservice with the cover, it looks cool, like a Clash record, but it muddies the message. It needs to have been off white or all red, but with that picture of her in the upper right corner and nothing more.
This record cuts to the soul. The shortest track “Poppies” is the standout for me. I loved that track and this album before I realized it had a statement to make. I think she made a statement with this album, but I don’t think it was one that was specific to one moment in time, it was something more universal and timeless. I don’t know what accomplishment a musician could hope for beyond that.
cLOUDDEAD – “cLOUDDEAD”
This record stands as a proper album, but it is a collection of a series of 12″ records put out by Doseone, Why?, and Odd Nosdam. This record was highly regarded in underground hip-hop and hipster college radio circles. It is a beautiful and creative record. There was a good follow up record, but this is yet another Doseone related record that is, in my opinion, close to a masterpiece. Digital versions of the album are strangely hard to track down.
You can buy it on Beatport and listen on youtube music. If you buy it on Beatport, there may appear to be two versions, one for $19.99 and one for $9.99, one is the Mush version and the other Big Dada (who took over the record deal). Mush is great, but so is Big Dada, both of the versions are in fact identical, so chose accordingly.
Daryl Hall and John Oates – “Private Eyes”
I’m a huge fan of Hall and Oates in general. If you have never listened to any of their music (possible?), I recommend checking out “The Very Best of Daryl Hall and John Oates,” which is unusually good for a hits compilation. It has some 45 singles and extended versions of key tracks that are a great listen. But, of their albums, this is my favorite. The title track was a hit, and for good reason. Private Eyes is an incredible pop song. Every track on this record shows how in command of rhythm these two are. It is clear they analyzed every bar on this record and only made choices in service of the overall vision. It is a masterful pop record, and fun too!
I am not an economist, but I often want to quickly reference basic economic info for various countries. I either want to whip up a simple data science project for a student, teach my kids more about geopolitics, or I just want to factcheck an argument.
For example, I was listening to a news story the other day (from a reputable journalist) that made some pretty outlandish sounding claims about China’s GDP. The claim was that China’s GDP growth showed the largest increases in the last 8 years than in any other time in their history. While I am very enthusiastic and impressed by China’s growth over the last eight years, I was certain they had bigger eight year spans of growth.
For simple problems like this I will often check the CIA fact-book (which is an amazing resource, one of the best public facing things the CIA does):
However, as great as the CIA may be, this is still a US government website. I am a Patriot through-and-through, so I am not disparaging the accuracy. But, I am disparaging our government’s ability to make user friendly websites.
So, if you want to get up to date on some part of the world, the fact-book is amazing. But, if you want to simply scrape basic GDP data to then make an 8-year moving average, well get the spreadsheet out. For situations like this “Trading Economics” is perfect. The site is very well laid out and for most simple economic fact questions it has, or can easily display, the answers you seek.
It took me about 2 seconds to plot all available GDP growth data from China, with what appears to be a three year moving average (used its default). The site easily exports raw data, and has a great API. Now, I haven’t dug deep into economic databases, so there might be better ones (let me know!), but this seems like a one-stop shop for most people.
I thought the new touchbar on the MacBook Pros was a gimmick without any real use. Well, one use: https://github.com/avatsaev/touchbar_nyancat
I had assumed Apple would limit the functionality of it. I was wrong (sorta). The app Better Touch Tool, which I am late to, makes it quite useful.
The killer feature is it can run AppleScripts and Shell Scripts. It isn’t just a shortcut for a script, it can run and return the output to the touchbar! Imagine GeekTool, but using your touchbar for interaction. In this way, the MacBook pro’s touchbar is more useful and powerful than an Apple Watch, etc.
I was originally hipped to this as I was looking for a way to display Vox, Spotify or iTunes track info in the otherwise useless touchbar. This cat Luca (who’s site looks very cool), wrote up a quick how-to and provides a simple AppleScript that can be used for all audio apps:
I use VOX a lot on my Mac to listen to 24bit FLAC files. I modified Luca’s script to use VOX’s AppleScript dictionary:
After some more digging, I found this oft-cited Medium post by Alex Wolkov, which is awesome and perhaps the only thing you need to read to get up to speed:
I still say if you can get the 13″ with the new form factor, but without the touchbar, you should. It is much cheaper and has a noticeably larger battery (54.5 vs. 49.2 Watt Hours). If you can live with integrated graphics the 13″ is WAY better than the 15″.
I had the 2016 version of the touchbar-less 13″ pro. I had switched to that 13″ from the 15″ with touchbar (2016) because the 15″ battery life was a total joke (2-3 hrs in practice). The 13″ sans-touchbar gets 8-10 hours in practice. I now have a 2017 13″ with touchbar (wanted the faster CPU) and its battery life is decent too, but you will get an extra hour or so without the touchbar (and save some $$$).
Better Touch Tool:
Github Discussion of Media Scripts:
I love Harmonie Korine’s film Kids. I first watched it with some of the crew I skated with when I was 14. For my friends and I, Kids captured our lives in an eerily stark way. It was so real for us that despite most of us having seen the film at least ten times over our teenage years, we never once had a meaningful discussion about it. Well, maybe we talked about Chloë Sevigny once or twice. We were more than content to sit with an engaging portrayal of the life we loved so much for a couple of hours and then move on. But, we all knew the film was rich both visually and poetically.
Kids’ developed a reputation for being a ‘poignant’ film about the AIDS epidemic. Also, as a film that offered “a wake up call” to society about what 90s youth is really up to! These characterizations clearly came from the marketing department, and they did a fine job. Don’t get me wrong, the AIDS component of the film is an important plot point, but if that’s what you focused on then you missed the film! Also, the “youth has gone crazy” aspect can’t possibly explain Kids‘ enduring legacy because those films are a dime a dozen. I think few successful (in the art sense) films have just one specific thing that makes them work. Nevertheless, one of the things that stands out for me as artistic triumph, is that Kids is an unusual fractal allegory on youth. An allegory focused on largely unexplored aspects of the concept of youth: evolution and conformity.
Dimensions of Youth in Art
In the static visual arts, allegories of youth are common, but they are almost always focused on the frailty or ephemeral nature of youth. I’m personally partial to Domenico Piola’s painting as I was able to see it when I was very young (the horizontal hourglass, that looks like a jar full of stuff you need an excuse to not eat :), is actually profound):
(Domenico Piola: Allegory of Youth; Blanton Museum of Art)
Of course, I’d estimate that there are at least a thousand examples we could pull from the Renaissance to present that are relatively literal for an allegory (often a kid next to an older person doing similar things):
(Tipi Napoletani – Seranata)
One could easily argue that the entire French Rococo movement’s foundation was an allegory of youth, but a thinly veiled one focused almost exclusively on youth’s fleeting nature:
(Nicolas Lancret, La Camargo Dancing; National Gallery of Art)
Youth is a topic that has so much dimension to it, and it’s not just in painting where that dimensionality isn’t explored much. In stories and poetry, allegories aimed at youth also focus too often on mortality or the fleeting nature of youth. Most everyone is familiar with the riddle of the sphinx in one form or another. Of course, my characterization of the whole body of literature and painting being one note on youth won’t stand thoughtful scrutiny, but my main contention is that the most common approach to youth is to focus of its ephemeral nature.
On 90’s Skate Culture
Kids is a daylong snapshot of the comings and goings of a group of New York based skaters and their varied entourage. The obvious image that snapshot conveys is ‘hardcore.’ The subjects are young teenagers, and they all exude hardcore. I think the gestalt of 90’s skate culture are captured well by Kids, much in the same way Wu-Tang Clan’s Enter the 36 Chambers does. In many ways, the general tone of Kids and 36 Chambers are identical:
But, every generation has had a group of hardcore teenagers. Even if Kornine could have gotten away with it, Kids would not have had the enduring cult status it has if it was simply a film about 90’s skate culture. A non-obvious aspect of 90’s skate culture that I think is helpful in appreciating Kids is how crucial the camcorder was to shaping it. We knew we were lucky that camcorders were so ‘easy’ to obtain and use. Easy wasn’t defined by everyone having an iPhone and LTE, but on any given day the contingent of our skate crew with ‘rich’ parents could ‘borrow’ their camcorder. If we couldn’t borrow one, we could rent one for $20 or so. And, if we had some exciting footage we could rent other equipment to splice bits of tape together, sync some music to it all, and even stud it with some text. Skaters around the world documented their adventures and shared them near and wide allowing us all a glimpse into the next amazing trick or how raucous our parties were:
The foundational element of skate culture (much like any sport or art) is seeking and pushing boundaries. Skaters strive to challenge themselves to do seemingly impossible things. Once these kids perfect the impossible, they move on to the next impossible trick. When you are in that mindset, watching others from around the world push themselves the same way is its own high. Skate videos celebrate the plight those who have chosen to take on a daily routine of relentlessly pushing against boundaries that evolved over ~83 million years to help ensure their species survival. The kids making and consuming skate videos were actively trying to erase the words can’t and shouldn’t from their brain, all during a time in which their brain were undergoing one of its most crucial phase of development. Under these conditions, boundaries naturally and progressively fade from all aspects of life.
When all boundaries dissolve chaos reigns, and I know firsthand that most adults looked on skate punks as lawless sociopaths. I can’t blame them. If you were to stumble upon an average skate video without any context, it would likely shock you too. If you had only watched previews of Kids, they would have shocked you in the 90’s. But, I’d argue the behavior of these kids remains governed, at least tenuously, by a relentless devotion to doing the things you like as best as humanly possible. The inspiration for new channels to divert this psychotic geekery comes from the small group of friends around you, but with videos, you can connect with seemingly infinite sources of new inspiration and implicit validation. This notion is captured well by this random grab bag of moments from Kids, stripped from any larger context:
My friends and I made many (slightly more demure) variations of Kids while we were teenagers. It never seemed surreal, and it never seemed exhibitionistic. To any casual observer, skate videos would certainly appear to have no value beyond glorifying debased behavior. But, I would argue they let us embrace our non-music passions in an unprecedented way.
In the 60’s and 70’s the market for records blew up in a way that accelerated the global dominance of Rock Music at a pace that was so fast few adults could rationally process the long-term cultural consequences. Adults were so concerned that many felt compelled to send exorcists to Led Zeppelin concerts. Now, we (sadly) slap Page, Plant, Paul Jones and Bonham’s beautiful art on car commercials:
The youth of the 60’s and 70’s bonded over a near universal love of Rock music. That bond was not due to a passive interest, and it wasn’t really all about the drugs. The passion was a very real desire to consume and make art. An incredible number of hippies would at least make an attempt to start a band, and those that did took rock into so many different and interesting directions that music probably saw its most significant evolutionary phase between the 50’s and 90’s. Many factors caused this. The cost of inter and cross-continental travel was plummeting as many players entered into the global and domestic airline business. So, chances were even if you were a kid in Indiana not only would you be able to see Led Zeppelin and Hendrix, you would probably get a chance to see The Who, or any other band English promoters wanted to be the next big thing. That same kid could buy all of those records giving them a chance to endlessly critique and study Hendrix’s choice in chords and progressions. On top of that, instruments were being manufactured at industrial scale, so that kid in Indiana, and his buds could start a band after a few hard weeks of work. Lastly, for that kid in Indiana, the thought that they too could make a career making music was not insane because the path from hundreds of hours of practice in the basement to the ears of a British promoter was in fact shrinking.
What’s It All About?
Actual kids show us every day what life is about in a far more relatable and less controversial way than teenagers do. That purpose seems to be learning how to interact and shape the world around you simply because it is fun. Whether it was part of a grand plan or a fluke, we seem to be wired up to want to create, share and learn. Later we begin to realize that if we are to keep interacting and shaping the world, we have to figure out how to do it for fun and profit. This is the moment when things get complicated. By the time we are adults, some of us fight to stay young, while others, just move on. But, for teenagers, the reality of ‘the real world’ is just starting to sink in, and their ability to do real good or ill in the world is only bound by their era’s context. Teenagers may not have a fully formed and reasoned mind, but they can physically accomplish just about anything. And, they are in a ‘go for broke’ position if society is telling them they only have a few years before they have to report for duty in ‘the real world.’ Unsurprisingly, parental chiding about “immaturity” and “you aren’t going to get a job doing x” just adds fuel to the fire. It’s not rebellion per se; it’s teenagers trying to balance their desire to become expert at their passions with an occult fear they won’t be able to pursue them any day now.
I do not believe that teenagers are actively aware their behavior is shaped by the mental conflict between an intrinsic and desperate desire to be creative, with the pressure to be as good at that as they can before society traps them into conformity. Nevertheless, I do believe that conflict is the quintessential teenage experience. As society gets more complicated and reliant on skilled labor, the seeming lawlessness of teenagers will become all the more apparent. The more ubiquitous teenagers’ ability to share their pursuits with each other, the faster the one-upmanship will be. This admittedly nuanced, but I think a foundational aspect of youth is an interesting and beautiful phenomenon. This phenomenon is told expertly as an extended behind the scenes skate video in Korine’s Kids.