Are you ready for a brand new beat? Summer’s not yet here, but Amos and Ex are talking the evolution of pop music from often radical to largely benign and the significance of Bernie Sanders’s announcement of a second presidential campaign. Other topics include labor organizing in North Dakota and elsewhere, gas fracking, and the power of public opinion in American politics.
This wide-ranging discussion moves from talk of baseball in the 1990s (and how and why former Minnesota Twins player Kent Hrbek, whom we love, remains a cheater) to the much-needed “whistleblowing” of AOC and Ilhan Omar in the new Congress to corporate media consolidation and Noam Chomsky’s and Ed Herman’s classic text Manufacturing Consent, which was made into a now-classic film in 1992.
Amos and Ex are staunch supporters of Dave Matthews Band. Your move, haters. After spending a good deal of time talking Green New Deal and the necessity of nuclear power to help end the climate crisis, A&E spend the remainder of this episode chatting about how professional wrestling both serves as a barometer for political consciousness in America and in some ways even anticipates the future of discourse.
With our longtime friend Scott A. joining the conversation, Amos and Ex riff on the Alex Garland film Annihilation (2018) and John Carpenter’s The Thing (1982). Also discussed are R Kelly, Jonah Hill’s directorial debut Mid90s (2018), and American skate culture.
In between discussions of the Coen Brothers, D.H. Lawrence, William Gass, and political theology, Amos and Ex talk the best films of 2018. No, not the film about Freddie Mercury’s band, but First Reformed, Mary Magdalene, and Come Sunday, among others. Oh, and The Death of Stalin.
The first of two discussions about your co-hosts’ respective book projects. Today we discuss Ex’s punk and postpunk’s literary history Lusty Scripts (Indiana University Press, 2017), which connects punk music to not only Hegel, Nietzsche, and Freud, but Dostoevsky, Burroughs, Henry Miller, Kafka, Genet, and Philip K. Dick. In detailing the punk bookshelf, Ex contends that punk’s literary and intellectual interests can be traced to the sense of shame and horror its advocates feel in the face of a shameless market economy that not only preoccupied many of punks’ favorite writers but in many ways generated the entire punk polemic as neoliberalism reared its ugly head in the middle-1970s.
In this first episode of 2019, Amos and Ex continue their discussion on “apocalypse” (or at least radical social critique) in television and film. In addition to talking about memes and news from Washington–Elizabeth Warren, Alexandria Ocasio-Cortez, etc.–the films/programs discussed today include Pump Up the Volume (1990), Fight Club (1999), Memento (2000), and Mr. Robot (2015-2019).
In this final episode of 2018, Amos and Ex chat about the apocalypse as imagined by Hollywood. Best and “worst” end of the world films, from zombie apocalypses to more serious science fiction films like Denis Villenueve’s Arrival (2016) to the Coens’ No Country for Old Men (2007) are explored. Also discussed is the notion that American film, as a artform, has come to an end.
Today Amos and Ex talk Coen Brothers films, the prospects of Alexandria Ocasio Cortez’s proposed Green New Deal in Washington, anarchist LARPing, David Graeber’s take on the ongoing gilets jaunes movement in France, and how being a leftist is like being a Minnesota Vikings fan.
Happy Holidays, yalls. Tis the season for your co-hosts to discuss the ways in which the Christian tradition especially seems to have lost its appetite for eschatological or end-of-days thinking (relative to the 1990s “Left Behind” hysteria) as we actually get closer to such a moment coming to pass. Likewise, given the “eschatological” utopianism embedded within some far left traditions, where are all the Marxists and anarchists these days when it comes to talking end of days?