CULTURE

In Memoriam of the Reddit Man Who Blew Up His Engagement Over a Wish Wedding Dress

Hell hath no fury like a dude with no power of introspection.

The internet may be full of actively ignorant know-it-alls who claim authority over topics they know nothing about, but perhaps none more unfortunate than the Reddit man who blew up his whole engagement over a wedding dress on Wish.

Keep ReadingShow less
CULTURE

Chris R from Tommy Wiseau's "The Room" Is Running for Congress

Chris R may have lost to Johnny and Mark in The Room, but he can still win big in Texas.

The Room

While Tommy Wiseau's The Room, often considered the best bad movie of all time, might be technically terrible in almost every aspect, one actor's performance stood out from the rest as...almost maybe good?

In a scene so random that it feels baffling even within an already baffling movie, actor Dan Janjigian plays a drug dealer named Chris R who tries to shake down another bit character named Denny (or Danny?) for owed money. Chris R is only in that single scene, and Danny's drug addiction is never brought up again, but that doesn't stop Janjigian from making a meal out of his role. Janjigian's crazed intensity and the seriousness with which he seemed to approach a nothing role in a no-name movie was compelling enough that Zac Efron portrayed him in The Disaster Artist.

WORST acting ever [MUST WATCH!] The Roomwww.youtube.com

Now, over 15 years after The Room, Dan Janjigian has taken on a new role, perhaps his biggest one yet: running for Congress. As it turns out, Janjigian is a man of many talents. On top of his iconic role as Chris R, Janjigian was also a Microsoft employee and an Olympic bobsledder. More recently, however, Janjigian has spent over a decade working in healthcare and raising a family in Texas.

Danjan congresshttps://www.danjanforcongress.com/

According to Janjigian's official campaign website, his experience as a healthcare professional and his family's history escaping the Armenian Genocide solidified his political beliefs. Currently running as a Democrat to represent Texas's 31st congressional district against Republican incumbent John Carter, Janjigian's platform revolves around enacting public healthcare (while allowing private options for those who choose it), streamlining legal immigration, and promoting clean energy solutions to battle climate change.

Best of all, Janjigian is running a grassroots campaign "PAID FOR BY A WHOLE LOT OF TEXANS SUPPORTING DANJAN," meaning that he's not beholden to big money or corporate interests, and possibly even that Danny finally paid him back.

Music Features

Premiere: No Vacation Blend Dream Pop with Romantic Compositions on New Single “Estrangers”

"Estrangers" is a groovy slice of dream-pop that unfurls in wonderfully unexpected ways.

Press Photo

Patience is a powerful tool wielded by Brooklyn dream-pop outfit No Vacation.

Keep ReadingShow less
MUSIC

Blink-182 Experiences a Mid-Life Crisis on "Happy Days"

The band's latest song, "Happy Days," depicts a band in crisis.

Brooklyn Vegan

Blink-182 has been an amorphous band since Tom Delonge left.

While California was easy on the ears—thanks in part to the commercial proficiency of producer John Feldman, who previously worked with bands like 5 Seconds of Summer and Panic! At The Disco—the record's fun sensibilities were overshadowed by the weight of a midlife crisis. Tracks like "Kings of the Weekend" and "Rabbit Hole" painted a picture of a band chasing their glory days. The rockers, now all in their 40's, had a clear objective with California that was set partially in motion by the departure of Tom Delonge in 2015: Remind fans that Blink-182 is the same care-free trio. But they're not the same band, and with Delonge's absence came a loss of sincerity. As flawed as Neighborhoods was—the last record Delonge would write and appear on—it carried with it a reflective maturity that California lacked. Songs like "Up All Night" and "Love Is Dangerous" portrayed Blink as a contemplative band, who in their old age were forced to learn from their impetuous years, and to perhaps grow and change in the process. Fans were disappointed by California because that authenticity and growth was nowhere to be found.

The trio's latest singles, "Happy Days," "Blame It On My Youth," and "Generational Divide," are very literal in their depictions of the band's mid-life crisis. While California showed the band chasing their youth, Blink's upcoming album seems to be in response to that: pure existential crisis. "Are we better, are we better now?" Hoppus cries out on the 50-second "Generational Divide." "I've been lost since 1999 / Blame It on my youth," the band all screams out optimistically on "Blame it On My Youth."

Now, "Happy Days" has all but ascertained that Blink-182 is running on the fumes of nostalgia. The track is formulaic and plays out like much of Blink-182's late discography. Skiba provides the harmonic cries while Barker wails on the drums, with Hoppus filling in the gaps to send a message to the "kids" supposedly listening to their music. Even the single's cover art is eerily reminiscent of the band's 2003 self-titled project. The only issue is that it's not kids listening anymore.


Blink-182's biggest moments served as a form of escapism from teenage oppression and effectively communicated the heavy-handed ridiculousness of being a young exile. But those kids are now in their mid-to-late 20's. They've all realized there is no escape. Instead, they're all looking for answers, and it's comforting to know that at least Blink-182 is on that journey with them. "Walls of isolation inside of my pain / and I don't know if I'm ready to change," Hoppus sings on the track's chorus. "Happy Days" shows that our favorite middle-aged musicians are lost in translation, unable to articulate exactly what kind of band they are anymore.

20th Century Fox

The 4th of July means you'll probably get plenty of time to watch movies about aliens.

Why aliens? Because it's Independence Day, silly: the day our forefathers signed the Declaration of Independence in 1776, freeing the thirteen American colonies from British rule. As a nation of immigrants, one could argue that we're all aliens on this special day. So without further ado, here are the top five Alien movies to watch on Independence Day (*wink wink*).

Keep ReadingShow less
CULTURE

How Kim Kardashian and Donald Trump Profit Off Your Outrage

They both have 61 million followers on Twitter, but the parallels don't end there.

Donald Trump

Photo By Evan El-Amin/ Shutterstock

The Kardashians want you to be reading this article. So does Donald Trump.

If you're already struggling to breathe while wearing Kim's shapewear and/or have fallen so unconditionally in love with Trump that nothing he does could change your opinion of him, they're happy you're here. But they're especially happy if you're prickling with rage, or if you're preparing to share this on your news feed, along with an angry comment about racism or cultural appropriation.

They're happy you're here because they've both figured out something about the modern media landscape and its purportedly elusive algorithm: Trump and Kim Kardashian know that they can profit off your indignation. They make money, they dominate headlines, and they win elections off the knowledge that any and all coverage, no matter how scathing, will benefit their careers.

This week's Kardashian publicity ploy: Kim has released a new lingerie line called Kimono. This has sparked instant rage from Japan, as well as anyone who has remotely paid attention to a single headline or news report or tweet about the problems with cultural appropriation.



A kimono, of course, is a gown tied with a sash that has been worn by people in Japan for centuries. To appropriate a kimono when you don't belong to its culture of origins is bad enough, but to package it and sell it for profit is an even more despicable act. Kim and her team's actions are, far and away, much worse than those of the white girl who received widespread backlash for wearing a traditional Chinese cheongsam to her prom.

That act, though not excusable, was one 18-year-old's poorly thought-out decision. In contrast, Kim's brand had to be conceptualized, vetted, marketed, and handled by hundreds if not thousands of people. Many of these people are extremely intelligent and well-versed in the ways of media and the social world, including Mrs. Kardashian West herself. They knew what they were doing and went ahead and did it anyway, applying for trademarks for the name "Kimono" in the United States, as well as "Kimono Body," "Kimono Intimates," and "Kimono World."

It's insidious—and brilliant. If Kim had simply released an underwear line, maybe it would've sold well among its target demographic; perhaps it would've provoked a few tweets from Jameela Jamil about the body-shaming nature of shapewear clothing. But now, because of this controversy, everyone with an Internet connection knows that Kim has released a new product. Everyone's sharing it, reading it, spreading it around like it's the plague in 14th century England (or its 21st century equivalent: the meme)—and so now it will reach people who might otherwise not have cared but who will now roll their eyes and say something about special snowflakes. Ideally, they'll buy the Kimono line out of spite and wear it as a kind of twisted testament to their all-American brand of kommodified, kolonialist, kapitalist freedom.

This marketing strategy is actually quite similar to the tactics used by the Trump campaign in 2016, tactics that the president will continue to use as he launches his campaign for 2020. It goes without saying that Trump's brand runs on a steady diet of outrage. It works: Studies have shown that negative press coverage helped elect Trump and has helped normalize him throughout his reign. In addition, the media's obsession with his personal controversies has distracted people's attention from natural and political disasters, as well as, god forbid, actual policy reform.

Donald Trump has built an empire by being more of a cultural icon than a politician, providing more personal drama and generating more rabid media coverage than arguably any Hollywood movie star ever has. His ammunition is controversy: His end goal is the spotlight, at any cost.

He shares this with the Kardashians, who have been open about their addiction to any kind of media attention. In 2015, Kim toldRolling Stone, "We'd go anywhere and everywhere just to be seen. We knew exactly where to go, where to be seen, how to have something written about you."

For journalists and people against bigotry, hate, and abuse of power in general, this presents an infinite loop. To remain silent would be to ignore atrocity, yet providing more negative coverage fuels the fire. In short, we are running in circles.

So here's another article about the Kardashians and Trump, to be sent out into the labyrinth of the Internet, where it will join the ranks of millions of thinkpieces that burned brightly for a moment, perhaps sparked a flicker of contempt or conversation, and fizzled out to rest in the graves where all thinkpieces older than one week go to die. They'll be covered up by more outrage, more controversy. Fresh cuts will open elsewhere, distracting everyone from the wounds at hands. In the end, we'll all be left with the scars.

Change, if it's possible, will only occur when we open our eyes and see that we are building the walls of our own cage. Perhaps if we realize that we are being played by the same game, we could begin to dismantle this relentless carousel by forgoing brief flares of outrage for critical inquiry and ongoing protests against systemic issues.