Ah, the 2011 list. For a hack of a blogger like myself it’s my once-a-year bread and butter. This year instead of separating music, movies, and television I’ve decided to produce a comprehensive list and lump it all together. Hold onto your hats, and enjoy.

Favourite Films of 2011

I had a quick look around because I was curious and it seems like Tree of Life is topping everyone’s lists this year. We have it in the queue but haven’t got around to watching it yet. I’m curious now though and I wonder if it would change things if I were to watch it first.

The curious bit, however, about the two films that did make my list is that both feature the unmatched Paul Giamatti as the leading actor. This wasn’t intentional but when I looked at everything I’d watched this year and boiled it down to just a couple of my favourites… Do I have a particular bias towards anything that Paul Giamatti does? Perhaps. Is he undoubtedly the best actor working in Hollywood right now? Yes, sir.

Barney’s Version

Barney’s Version is a brilliant take on the novel by Canadian literary heavyweight Mordecai Richler. I remembering having to read The Apprenticeship of Duddy Kravitz in my O.A.C. (Grade 13) English class. I probably only understood about a third of what I read at the time but I can certainly appreciate a heavily nuanced and deeply moving plot a lot more now that I’m older. Barney’s Version is a movie about love, marriage, family, and memory. It’s wonderfully-acted (duh), well-written (duh), and unfolds itself in a fantastically pleasing fashion distilling all the very best parts of a well-developed Woody Allen movie. Complicated, comedic, and charming sums it up pretty well too.

Win Win

Win Win follows in the same genre of comedy as another of my all-time favourite movies Lars and the Real Girl. I’ll sum it up like this: Small town, quirky characters, social conundrums, and the kind of plot that sometimes seems like something you couldn’t make up if you tried. Like Lars, we’re treated to ninety minutes of some truly great and wholly surreal story-telling about people, a place, and a number of situations we’d never even thought about before. In this film, Giamatti plays and small-time lawyer and high-school wrestling coach as if he were born for the role.

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If you’ve had your head in the sand this week then maybe you’ve missed the Internet’s newest sensation: Rebecca Black.

Earlier this week her music video, “Friday,” went viral. Big time.

The YouTube video quickly garnered 12 million views in the course of just a few days and now she’s doing the talk show circuit. But what differentiates Black from other YouTube sensations like Canada’s own heart throb Justin Bieber (I prefer Dwight from The Office’s “Justice Beaver”) is the reason why she’s become so popular.

Unlike The Bieb, Black’s video isn’t growing in popularity because she’s a great singer—an undiscovered musical gem from a tiny little town in Ontario—it’s her completely over-the-top cheeseball of a music video, and lack of any semblance of musical talent. When I first saw the video which features, at several points, Black trying to decide which car seat to sit in—the front seat or the back seat?!—I wondered if this wasn’t an SNL Digital Short. It was ridiculous, playing up all kinds of stereotypes, complete with Rebecca’s constantly auto-tuned voice and some of the worst lyrics imaginable.

But apparently it’s for reals.

Doing some digging I found out that Rebecca Black was recruited by Ark Music Factory, a record label that puts out casting calls looking for the next Justin Bieber. Ark Music Factory finds young people, gives them the songs to sing, and then produces high quality videos to stick up on YouTube hoping to make it viral. Whether the song Black was given to sing was an honest effort by some pretty minimally-talented songwriters or whether the joke was on her all along, it’s hard to say but the result is priceless.

The fallout, however, has been anything but kind. The success of the video is based on its terribleness. Black has been criticized and made fun of and given the kind of treatment that only the Internet is capable of. Her fame hasn’t come from her talent but out of what’s now become an embarrassment for her—her fame is at her expense.

And for me, this whole episode begs a pretty interesting question for me: Are we bullying Rebecca Black?

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Eliza Doolittle is a newcomer and a brief foray into her other music videos suggests that perhaps Pack Up is a one-off hit. Regardless, it’s a hit.

Pack Up, which grafts its chorus from an old WWI British marching song has such an eclectic and fun sound that you cannot not love it immediately upon hearing. You’ll love it, and if you say otherwise you’re a liar. Featuring UK-based gospel singer Lloyd Wade, this song packs one of the most infectious hooks I’ve heard in a long time. You will dance, if you possess the ability to stand and move around. Comparisons can be drawn, easily, to Gnarls Barkley’s jaw-dropping summer hit Crazy. Remember that song? It’s baaaaaaaaaaack. And this time it’s sung by someone who seems to have taken all the good bits of Amy Winehouse and left all the baggage behind. I like.

Last week I was able to write some initial impressions of the new Sufjan Stevens album thanks to NPR, who have the entire thing streaming on their website. Well, they’ve done it again. Belle & Sebastian’s new album, Write About Love, is available to stream online, in its entirety, until it’s released next week. So thanks again to NPR I’m able to give some initial impressions and thoughts on an album I’ve been waiting an eternity to get my hands on.

For a Belle & Sebastian record, Write About Love opens with a punch. For a band that’s never put much musical emphasis on their percussion section—as talented as it may be—this album opens up with a rolling drum line that sounds more like a Sparta track than a tune from the Scottish indie pop superheroes we’ve come to know a love. Of course, once the piano keys in and that familiar guitar twang begins it starts to feel a bit more familiar it’s still immediately clear that this is a Belle & Sebastian record that’ll keep you guessing. And it does.

Over the course of their last couple of records Belle & Sebastian have steadily grown from a pretty sleepy albeit incredibly talented song-writing force-to-be-reckoned-with into an equally talented although far more perky indie pop ensemble. The shift was pretty pronounced with the release of Dear Catastrophe Waitress in 2003 with a sound that was pretty different from their previous records. The group built upon this new-found sound with 2006′s The Life Pursuit. The release of Write About Love, however, is a curveball to anyone who thought that they had the group pegged down.

Through the course of the forty-minute record we’re treated to an enormous spectrum of songs and sounds. Many tracks on this album are heavily and very professionally-produced pop tracks in a vein similar, yet different, to those found on the group’s last two records. Thanks to what must’ve been incredibly high production values, these songs come out sounding absolutely stunning. On many of these tracks it’s clear that the band is trying new things, like the emphasis on the drum line in the opening track. Still, we’re left guessing, because many of these tunes are also throwbacks to older Belle & Sebastian material. Many songs are slower, more toned-down, the likes of which we haven’t heard the band write since their very early albums. And again, there are many aspects of this record that just leave me wondering like the guest appearance of Norah Jones singing alongside Stuart Murdoch and the incredibly different track contributed by guitarist Stevie Jackson.

At any rate, from my initial impressions Write About Love is the album I’ve been waiting so long for, and then some. If a four-year wait between records felt like a long time I think we can all agree that after hearing what can out of it, it was worth the wait.

After a hiatus that felt like forever fans and critics (of which I am both, zing!) wondered aloud if the Scottish pop rock group Belle & Sebastian had broken up for good. Answer: They hadn’t.

Belle & Sebastian are back this October with Write About Love, the band’s first album in four years. From what we’ve heard, it sounds even poppier and uptempo than 2006′s The Life Pursuit but taking the band in this direction seems like a really good fit. If their live performance of their first single off the album is any indication, the rest of the record is going to sound great.

While I’m going to save my full review for when the album is released, I thought it might be fun to share my initial impressions of the new Sufjan Stevens record The Age of Adz.

If you’re a Sufjan fan and haven’t had a chance to take a listen to the new album the entire thing is streaming (until the release date on Oct. 12) over at NPR. That said, I’ve had a listen.

What I guess The Age of Adz amounts to is what happens when a certain personality-type reaches unexpected heights of fame in a very short period of time. With the release of Illinois, back in 2005 Sufjan Stevens, who has always been a bit of a recluse, a big experimenter, and an artist to the core, exploded into popular culture in a way that he certainly did not foresee. I think it’s pretty safe to say that Sufjan was uncomfortable, from the start, with this level of fame. It’s clear he went through a long period of self-doubt, of questioning the integrity and the purpose of his music, of questioning fame, but it’s clear now that he’s come safely out the other side.

The Age of Adz, I think, is that journey.

Departing from acoustic instruments and real live orchestras, Sufjan has instead turned to synthesizers and sounds that Maria has aptly-described as “robots”. Still, The Age of Adz doesn’t stray all that far from Sufjan’s other popular records. There are still those soaring heights, the quiet lows. There’s still plenty of introspection. Sure, it sounds futuristic but forget about what’s making the music and it really isn’t all that different from something you’d expect from an inventive, experimental artist like Sufjan.

On initial impression, I love The Age of Adz. Instead of compromising his integrity as an artist, it seems to me like Sufjan has produced a record that he wanted to produce instead of settling for releasing what all of us wanted to hear. And besides, if you’ve followed Sufjan’s career for anything length of time this really isn’t that much of a departure. Sufjan innovates, he keeps you guessing, and he keeps you coming back for more. He is a well-spring of talent and creative energy, truly, and thank goodness that supply is flowing again.

In 1988, Paul Simon made an appearance on the popular kids show Sesame Street. It was very possible that, as a kid, I was watching when Simon and a small troupe of child performers sang “Me & Julio Down by the Schoolyard”.

Lasting just shy of two minutes, Simon’s version of his incredibly popular song is performed only as a brief rendition but if you watch it I’m sure you’ll understand why I love it so much to include it in my Live Tracks series.

Truly, this performance is surreal.

First of all, Simon’s playing a tune that while fun and campy, has a bit of a dark if not mysterious undertone to it. The true meaning of its lyrics, while never revealed by Paul Simon himself, have been speculated to refer to rape or sodomy. Yet, here he is playing it on a children’s TV show. It sure sounds good.

Then there’s the little girl sitting next to Simon. Now this has gotta be the coolest little girl. In what seems like a totally unrehearsed performance she sings, claps and dances along with Paul and really puts on a show. I mean these two could cut a single together, no doubt.

I love everything about this video. Paul Simon and a small group of kids singing, playing and dancing on a nearly deserted Sesame Street set. The pure, unadulterated joy and expression of children having fun. And a really good tune.

Me & Julio Down by the Schoolyard