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for me the FLIGHT OF THE CONCHORDS (HBO, 2007-2009) is indicative of a definite place and time. the wildly popular TV SERIES, which only lasted two seasons, followed the antics of newly transplanted KIWI musicians to QUEENS and their inability to acclimate to their new surroundings. essentially its THE BIG LEBOWSKI premise minus the whole film noir plot line. in essence all the plots are excuses to showcase the inventive genre parody songs the duo had built up in their preceding standup career. once those songs, and their corresponding albums, were all published, the series ended.
as someone in the late 00s who had moved to NYC to attend graduate school at COLUMBIA UNIVERSITY, the themes of displacement and isolation and the problems of integration with new surroundings was very prescient to me at the time. there is also a slight undertone of gentrification and hipsterdom that follows this film, as the music is wildly eclectic and relays an interest in global sounds and rhythms. in real-life INDIE ROCK bands such as VAMPIRE WEEKEND were being criticized for cultural appropriation at the time, much like PAUL SIMON had a generation before. i think in the contexst of the show FLIGHT OF THE CONCHORDS got away with it 1) because they were foreigners and 2) the songs were explicitly homages that paid respect to their origins with an eye for details. with INDIE ROCK bands of the time these corresponding sounds just smelled of rank opportunism and the use of foreign tropes as a way selling "exotic" music to a conservative white audience.
its still interesting to rewatch the show and see how they handled that dubious territory that is the intersection between PARODY and HIPSTER CULTURE. in many ways we are still living through that prism today as notions of WHITE PRIVILEGE and INSTITUTIONAL RACISM have only become more apparent in the decade since. i really wonder at times how this show would look like if the duo had come from SENEGAL, PANAMA or THAILAND. is there something about an anglophone country like NEW ZEALAND that gives them the ability to navigate this divide while still being foreign themselves? just a thought.
for me the songs still stand and the TV SERIES is funny and reminds me of the years i was constantly a foreigner in a foreign land. beyond ironic that i feel that way now in my own country after returning to TRUMPLAND after being abroad so many years.
regardless, great show worth revisiting.
photo manipulation by nacrowe
for whatever reason, the four seasons of 90s cult classic comedy show MR. SHOW (HBO, 1995-1998) starring BOB ODENKIRK (BREAKING BAD, BETTER CALL SAUL) and DAVID CROSS (ARRESTED DEVELOPMENT) is criminally overlooked. an outgrowth of the alternative comedy scene in LOS ANGELES at the time, its cultural impact can be seen in the varying careers of its many collaborators including that of BRIAN POSEHN (METALOCALYPSE, THE BIG BANG THEORY), TOM KENNY (SPONGEBOB SQUAREPANTS, THE POWERPUFF GIRLS, JOHNNY BRAVO), JILL TALLEY (SPONGEBOB SQUAREPANTS, THE BOONDOCKS), PAUL F. TOMPKINS (BOJACK HORESMAN, BOB'S BURGERS, THE DAILY SHOW), JACK BLACK (TENACIOUS D), SARAH SILVERMAN (THE SARAH SILVERMAN PROGRAM, SATURDAY NIGHT LIVE, BOB's BURGERS), JAY JOHNSTON (THE SARAH SILVERMAN PROGRAM, MARY SHELLEY'S FRANKENHOLE), BEN STILLER (THE BEN STILLER SHOW, ZOOLANDER, DODGEBALL), JERRY MINOR (SATURDAY NIGHT LIVE, COMMUNITY), MARY LYNN RAJSKUB (24, THE LARRY SANDERS SHOW, PUNCH-DRUNK LOVE), JOHN ENNIS (TWIN PEAKS, WALK HARD, ZODIAC), SCOTT AUKERMAN (BETWEEN TWO FERNS WITH ZACH GALIFIANAKIS), MARLON WAYANS (IN LIVING COLOUR, REQUIEM FOR A DREAM) and JANEANE GARAFALO (SATURDAY NIGHT LIVE, 24, THE LARRY SANDERS SHOW). the "Titannica" skit was referenced in the name of a BLINK-182 song ("Adam's Song") and the show even become the springboard for a TOOL side project (MAYNARD JAMES KEENAN's PUSCIFER) and TENACIOUS D, who themselves had an HBO show that was co-created and co-produced with ODENKIRK and CROSS.
the show takes its sensibility from MONTY PYTHON in that live and prerecorded skits are connected tangentially from segment to segment with no narrative arc. this frees the material to be the focus. a product of the CLINTON-era, much of the focus of the humor is derived from lampooning the stupidity of american life (reality tv, jingoism, sensationalist journalism) and public institutions (the police, government officials, corporate america). in many ways the lack of intellectual curiosity and selfish nature of the american general public is a target just below the surface and for that reason, this show has aged remarkably well.
given the political nature of their comedy, the creators and select cast members have done mix-media tours of theaters over the years. i saw them in NYC around 2003 as they lampooned the build-up to the misguided return american military adventure into the middle east on their HOORAY FOR AMERICA! tour. to me MR. SHOW holds a special place in my heart as they were consciously articulating a perspective and using comedy as a mirror to articulate just how far from our professed ideals we had fallen, especially during a time of compliance and plastic patriotic fervor rooted in raw, uninhibited xenophobia.
again, MR. SHOW still holds up. definitely worth your time to investigate.