_Few things have limped towards their death in a more painstaking fashion than The Office. NBC’s once-great show has been in hospice for over a year now. It’s difficult to see something you once cared for so deeply struggle on life support. We can take solace in knowing that the show lived an abundant life and brought us so many fond memories, but The Office has reached such a state of vegetation that the plug undoubtedly needs to be pulled. It’s hard to narrow down the catalysts of the show’s demise to six. Nevertheless, I offer up the six figures that will carry a show that was once television’s best comedy to its eternal resting place.

6. Regional Manager Andy Bernard
Andy is an obvious pick, but this executive decision can’t be ignored. The Nard Dog shot life into the arm of The Office in season three.  He was hilarious in season four as well. This is when The Office functioned like the Moneyball-minded A’s of the early 2000s. They had won a lot of games with home grown talent, and then they started going out and picking up free agents that fit their system. The Office is now functioning like the deep pocketed Yankees teams those A’s teams went up against. They are a poorly run team that overpays free agents that really don’t meet the team’s needs; Kathy Bates, Will Ferrell, James Spader, etc. I can’t expound much on Andy as regional manager, because I can’t stomach the episodes anymore. I gutted out all of season seven, and my efforts went entirely unrewarded. After a great Parks and Rec season premiere in 2011, I stuck around for The Office’s season eight opener. I never quite made it through. Andy was supposed to get something tattooed on his ass. I can’t remember what it was, and I’m thankful for that.  The Office jumped the shark in season five. Now it’s coughing up water on the shore. Let’s hope the lifeguard doesn’t make it in time to revive it, so we’ll still be able to recognize the body at the funeral.

5. Scott’s Tots
Yes, all 20 of them will help carry the casket. This was undoubtedly the low point of the series for Michael. In case you missed it, here’s the premise: A decade ago, Michael promised a group of elementary school kids he would pay their college tuition if they graduated from high school.  Well guess what? Those youngsters are seniors now, and Mike can’t foot the bill. In the glory days of the show, Carell could take any awkward situation and turn it into brilliance. Telling your workers you have a huge surprise for them at the end of the day and coming up with nothing but ice cream sandwiches was funny. Telling 20 underprivileged kids you’re going to send them to college and stringing them along for 10 years is devoid of much comedic promise. But it could have been done. Seinfeld made a death - albeit a ridiculous one - pretty funny. But what Michael did came across as inconsiderate at best. It came across as mean spirited. But worst of all, it was completely unfunny. It was fairly apparent at this point that after having Michael screw over Prince Family Paper and Dunder-Mifflin in season five, the writers were really out of ideas for his character. The guy that had carried the show for over four seasons became unlikeable. This is usually not comedically abundant territory. The U.S. version should have followed the model set up by its British predecessor and canned him while he was still funny.

4. Gabe
I’m going to spend about as much time analyzing this guy’s presence on the show as the writing staff apparently spent concocting him as a character. He brings literally nothing to the table. It would be easy to toss Erin into the discussion here too, but she’s just so darn cute. That is her purpose, right? Back to Gabe. He serves no purpose and has never, not once, ever, even come close to making audience members consider possibly even smirking at anything he has ever said or done. We’ll put him on the same side of the casket as the 20 high school kids, because this guy definitely can’t hold his own weight, let alone that of a dead carcass.

3. Creed Bratton
This one hurts. You could always count on Creed for one big laugh every week. Even during the average episodes, Creed was always the saving grace. It was often no more than one sentence, but it was always fantastic. He introduced us to “Andrea, the office bitch.” He gave us the single greatest internet domain name of all time: www.creedthoughts.gov.www\creedthoughts. His insight on the visually impaired was a stroke of pure genius. “A lot of jazz cats are blind, but they can play the piano like nobody's business. I'd like to put the piano in front of Pam without her glasses and see what happens. I'd also like to see her topless.” Creed’s contributions to The Office often go overlooked but cannot be overstated. I recently did 22 minutes in the laughless prison that was “Pool Party” from the current season. As I stated, the episode took place after season six, so it was completely free of humor. Usually Creed saves these episodes with a memorable comment. Here I winced through the entire episode. The sole enjoyable moment came from a shot of Creed wearing a Speedo, a crown and playing guitar while on his back. It was a quick cut.  He was probably on screen for less than a second. So there is still reason to believe Creed can bring the goods week in and week out. The blame here should really be assigned to the editors for squandering Creed’s brilliance and trimming his screen time. But we can’t have a team of editors carrying the casket in his place. I promised you six pallbearers. By my count, we already have about 23.

2. Michael Schur
If you’re an Office fan, you’ve seen Michael Schur, but you probably don’t know it. He has played Mose in nine episodes starting in season three. But most of his contrubions to the show came from behind the scenes. He penned classic episodes like season one’s “The Alliance,” season two’s “Christmas Party,” and season three’s “Branch Closing.” He also produced 23 episodes up through season five. The show had already started its decline with the ridiculous Michael Scott Paper Company arc by that point, but it was still one of the better comedies on TV. It wasn't "must see," but it was definitely worth watching. But in 2009 Schur moved on to co-create Parks and Recreation, and the quality of The Office tanked quickly. You can’t blame the guy for jumping off Scranton’s sinking ship. With Jim and Pam together at the end of season four, The Office had basically run it’s course. How much of The Office’s decline can we attribute to Schur?  There’s no real way of knowing. We don’t have the technology. But Schur’s influence is becoming more evident each week as Parks and Rec continues to get better, and The Office has completely imploded.

1. Pam Halpert
Jim’s charm began to wane the day he started caring about his job. At the beginning of season four’s “Job Fair,” Jim’s tells us in a talking head that “it is not a good time for me to lose my job, since I have some pretty big long term plans in my personal life with Pam that I’d like her parents to be psyched about. So, I am about to do something very bold at this job that I’ve never done before: try.” These words marked the end of Jim Halpert as we knew him, and it’s all Pam’s fault. The will they/won’t they tension between the two during the show's first three seasons was absolutely riveting. It was simultaneously hilarious and painful. But above all else, it was real.  We’ve been there. We either are that guy or we know one just like him. I’ve said for a couple of years that the Halpert wedding should have been the show’s finale. Jim and Pam provided The Office with an...incalculacable amount of unforgettable moments in the early goings. But after they became Mr. and Mrs. Halpert, their appeal faded. Fast. They quickly morphed into smug, unidentifiable characters. Case in point: season five’s “Cafe Disco.” Dwight pays Erin to answer the phone and yell “Oh my God! I can't believe it! I just won an art contest!” It was a fairly harmless prank, and it was pretty funny, especially coming from the mind of Dwight. It definitely wasn’t harsh or overly  offensive. But the self-satisfied versions of Jim and Pam found it to be anything but funny. “Not cool, Dwight,” Pam responds. Jim scoffs along with her, “Not cool, man.” Jim has been giving it for four and a half years, and now that Dwight pulls a halfway clever prank, Jim can’t take the joke. Jim is suddenly relatable again but not in a good way. Every group of friends has a guy that can’t take it, and those are the guys that need ridicule the most. The show has tried desperately for ways to make Jim’s willingness to stay at Dunder-Mifflin seem realistic. He was named second in command after coming back from Stamford and named co-manager in season six. The Jim we knew in season one would have “thrown himself in front of a train” if being a paper salesman became his career. After watching a few seasons of Jim with his love life in order...I wish he had.





 
Last year The Roots drew inspiration from a Sufjan Stevens track and turned it into Undun, the best hip hop album of the year (this writer’s opinion, not Paste’s). The Legendary Crew from Philly took a song that more or less loops the same piano chords nine seconds at a time and used it as the jump off for a 38 minute masterpiece. The end result was a concept album that tells the story of fictional character Redford Stephens’ foray into a life of crime and his ultimate demise.  The diverse production offers up tracks as tough as the crowd at an Eagles game (“Stomp”), bass lines as smooth as a successful criminal (“Make My”) and of course a guest appearance from Sufjan himself to kick off Undun’s classically inspired conclusion. So if The Roots can join forces with a mastermind from another genre, borrow a few piano keys and spin gold of their own, what other possibilities are out there?  I offer up five indie tracks that could (and inevitably should) generate more Roots brilliance.

1. “Samson” by Regina Spektor
For the purposes of this exercise, we’re assuming The Roots are easily inspired by piano chords. We'll start with "Samson," because its melody more closely resembles "Redford" than the other songs being examined. Spektor’s sweet sounds would match up well with Black Thought’s salty lyricism.
The Roots Concept: A journey through the Old Testament. All of the classics would be covered. “Burnin’ Bush” would allow the group to sneak in a few shots at George W., and ?uestlove’s drums on the Cain vs. Able track would be epic enough to make Cecil B. DeMille’s Ten Commandments look like something your grandfather shot in his backyard on an old Super 8 camera.
Alternate Roots Concept: Borrow from the original song’s line about hair loss, and depict the damage it can do to a man’s psyche. Guitarist Captain Kirk Douglas could use his receding hairline experience to pen a first person narrative. Bald guys need not just an anthem but an album full of them. (This writer would appreciate it. I can’t hold off my impending doom much longer).

2.  The Song: “Hang On” by Dr. Dog
Dr. Dog offers up playful piano chords in mass quantities. “Hang On” is no exception. Toss in the fact that Dr. Dog also hails from Philly, and this one is really a no brainer.
The Roots Concept: Tracking the ups and downs of a couple that is obviously wrong for each other but neither can break free. They may or may not lose their house in a hurricane. Someone may or may not drown.
Alternate Roots Concept: A gripping narrative about a down on his luck Temple University medical student who rises to become a successful heart surgeon despite constant pressure from his father to become a banker. The doctor goes on to risk his job by providing a pro bono bypass on an uninsured man who has been sucking down Pat’s cheese steaks for the past 35 years. Does the doctor lose his job? Does the patient die? Does the doctor ever win the approval of his father? You have to stick around for the last song on the record to find out.

3. The Song: “Adventures in Solitude” by The New Pornographers
The song is kind of enigmatic. Such a sweet, cheerful melody accompanied by such desolate lyrics. The hook gives us hope, though.
The Roots Concept: An insomniac wanders the streets of New York and often winds up in remote towns after lengthy blackouts. Think a white Kid Cudi that blacks out Walter White fugue state style on occasion. These are his stories.
Alternate Roots Concept: Think Zack and Miri Make a Porno, but insert ?uestlove for Seth Rogen.

 
_Jay-Z and Kanye West have built gargantuan fan bases over the past couple of decades because their music was undeniably great. Jay-Z’s universally lauded flow and street-centric realism had a lot of people calling him the best rapper alive in the mid 2000s. We loved Kanye's music for its realism too. His reality was much different than Jay’s, but almost every track off The College Dropout (and most of his popular songs sense) dripped with emotion. We used to love their music because it was real. The gold plated, Maybach dismantling, designer name dropping sounds and sights from Watch The Throne clearly represent the reality in which Jay and Kanye currently reside. But it’s clear that this reality is far removed from that of their fan base. It’s baffling that the album was received as well as it was by most fans. I guess it’s a testament to the...power (if you will) of these two artists. The expense of the samples used has been well documented, and it’s hard to argue against the quality of the production. But two legends trying to out-ostentate each other over gaudy back tracks shouldn’t constitute coolness. There is a fine line between braggadocio and douchebaggery. We'll soon take a deeper look at a few quotes that surpassed that line and fell into the latter category. While Kanye is widely regarded as the biggest douche the U.S. has to offer, this analysis clearly shows that Jay-Z's self-absorbed qualities are underrated. But before we begin the lyrical breakdown, it is necessary to settle on a definition for douchebag. The word douchebag is, historically, difficult to define. You know if when you see it, but accurately summing it up is a tough task. Given the perplexities of douchedom, we will instead use what I’ll call a “pretension barometer.” It works like this. I’ll cite you a lyric and place it into a culturally relevant, self absorbed context. Still reading? If you are, God bless you. Let’s begin.

The Song: "That's My Bitch"
The Lyric:  How can something so gangsta be so pretty in pictures?
                       Ripped jeans and a blazer and some Louis Vuitton slippers
                       Picasso was alive he woulda made her
                       That’s right nigga Mona Lisa can’t fade her

Courtesy of: Jay-Z
This is the first of Jay's desperate attempts to squeeze in as many sophisticated references into his rhymes as possible. He goes to mausoleums. He cites Socrates and Plato. He needs eight arms to wear watches made by companies that his fanbase has never heard of. But if you’re going to Midnight in Paris-ize your raps, the nods to high culture should at least make sense. Obviously Picasso didn't paint the Mona Lisa, but I'll disregard that. He’s saying beautiful women like this typically exist only in works of art. Jay’s thought process probably went something like this: Who’s a famous painter?  Picasso.  I’ll use that guy’s name. The problem here is that the "bitches" in Picasso’s artwork are painfully ugly. Whether you’re looking at his Blue, his Rose, his African-influenced or his Cubism period (thank you, Wikipedia), the women are almost always deformed. Picasso crafted this beauty in his later days. Would I hit it?  Absolutely. But Jay should be better than that. He does, after all, have five passports.
Pretentious equivalent: In Annie Hall, the Columbia professor who loudly pontificates the meaning of Marshall McLuhan’s work. Unfortunately this time, Picasso isn’t here to tell Jay-Z, “I heard what you were saying. You know nothing of my work.” If life were only like this...

The Song: "Ni**as in Paris"
The Lyric: What's 50 grand to a muhfucka like me?
                       Can you please remind me?

Courtesy of: Jay-Z
This comes off as out of touch with society, but considering the medium, it’s not terribly self-absorbed. 
Pretentious equivalent: Season three of Frazier

The Song: "Gotta Have It"
The Lyric:  Wussup muh'fucka where my money at?
                        You gon make me come down to your house where your mommy at
                        Mummy wrap the kids, have ‘em crying for they mommy back...
                        I wish I could give you this feeling, I’m planking on a million

Courtesy of: Jay-Z
The mummy wrap and planking references are inexcusably lame. But the key issue here is “I care enough about money to chase down some woman and tie up her kids. Yet at the same time, one million dollars means nothing to me.” Can’t have it both ways, Jay.
Pretentious equivalent: Accusing someone of not “getting” a Wes Anderson film, then not being able to explain what it is they don’t “get.” Also, calling movies “films.”

The Song: "Who Gon Stop Me"
The Lyric: I’m riding dirty, trying to get filthy, Pablo Picasso, Rothkos, Rilkes
                      Graduated to the MoMa, and I did all this without a diploma

Courtesy of: Jay-Z
This reads like Jay-Z sent his personal assistant to a museum, had the assistant write down the names of famous artists and desperately tried to work them into his rhymes to show us how cultured he is. And look at him. He did this all without a diploma. If Jay had made it through high school, he might have learned that comparing anything to the Holocaust (as Kanye does in the hook) is a bit of a faux pas. Especially when one of the guys you are referencing, Rothko, was a Jew who was forced to flee his native country because of persecution (thanks again, Wikipedia). Poor form, Jay.
Pretentious equivalent:Dwyane Wade comparing a Miami Heat losing streak to 9/11.

The Song: "Lift Off"
The Lyric:  We gonna take it to the Moon, take it to the stars
                        How many people you know can take it this far?
                        I’m supercharged, we about to take this whole thing to Mars

Courtesy of:Beyonce
Taking it to the Moon is one thing. But stars? You’re talking light years of travel. Be realistic.  Newt Gingrich gets blasted for "grandiose" ideas like these. Jay-Z and Beyonce should be held to a higher standard.
Pretentious equivalent:Gingrich's claim that not only will he serve eight years in the white house, but he will also establish a moon colony there

The Song:"Murder to Excellence"
The Lyric: I dress in Dries and other boutique stores in Paris
                      In sheepskin coats, I silence the lambs...

Courtesy of: Jay-Z
I'm not sure when visiting boutique stores in Paris became acceptable rap fodder, but it's safe to say most of his audience has no idea who Dries Van Noten is. Any reference in a verse to a dry Paris should involve the heiress to the Hilton fortune. And even if that is the direction you want to take it, you would need a time machine to make that joke relevant again.
Pretentious equivalent: Ordering a glass of champagne at a sports bar while all of your friends are drinking beer

The Song: "No Church in the Wild"
The Lyric: Jesus was a carpenter, Yeezy laid beats
                      Hova flow the Holy Ghost
                      Get the hell up out your seats
                      Preach

Courtesy of: Jay-Z
First Jay-Z compares arguably the most narcissistic person in recent history (that we know of) to one of ancient history’s humbler figures. Depending on how religious you are, you might call it ignorant. I’ll call it misguided. He furthers the religious parallel by calling his flow the Holy Ghost. Jay-Z isn't talking about himself as a person. He’s merely talking about his flow. In 2006, Jay dubbed himself the “Mike Jordan of the mic recording.” Five years later, the way he raps makes up one-third of the Holy Trinity. In "Lift Off," Jay says Earth is boring. Clearly he no longer lives there. He tops it off by telling himself to continue to preach.  I think we just found a definition for douchebag.
Culturally pretentious equivalent: There is no equivalent.  A new standard for smug has been set. 

     

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