Noir-adjacent Watch: Hangover Square (1945)

Watched:  11/25/2024

Format:  Kino BluRay

Viewing:  Second?

Director:  John Brahm

We previously watched this movie.

If I were going to program a series of movies and those movies were *about* (at least in part) music, I'd feel compelled to include Hangover Square (1945).  And I think I'd really manage to freak out the squares with this oddball character study/ thriller.  

Apparently the movie had a long road from book to screenplay to how it was finally shot and made.  It was also the final movie of Laird Cregar, one of the most promising actors of the 1940's, who died before this movie was released - a heart-attack brought on from a speed-fueled crash diet, intestinal issues from his attempts to lose weight, and other factors.  He was only 31.

Along the way, the book - which took place in modern London - was changed into a gaslight-era story about a composer, and almost nothing of the source material remained except the title.  Part of me is horrified for the original author, part of me knows this is basic studio mechanics, and part of me quite likes the final result.  So....

It's a bit of an odd movie because I'm not sure it has a "hero".  It has a protagonist you follow, but out of morbid curiosity.  After all, we know he is a killer in the first 30 seconds of the film - it's that no one else knows or wants to believe it.  So what happens when he's left free?  And gets cross-wise with a conniving songbird who is a walking red flag in the shape of Linda Darnell?

The score of the film is phenomenal, culminating in a diegetic performance of the concerto Cregar's character has been working on since before the film's start, The Concerto Macabre.  

The concerto is worked into the film throughout, as is the use of fire, pits, and other signs of Cregar's character's madness.  I really don't know how to talk about Bernard Hermann's work without gushing, or this one in particular.

And Cregar, himself is pretty terrific.  This may be his finest role in a very brief, very impressive slate before his untimely death.  He's sympathetic, even while you're screaming at the other characters to knock it off or stop him.  

I also think Darnell is at the height of her powers here.  Gorgeous, crafty, acting for the benefit of other characters while the audience knows what's up, and not making it cheesy...    And, ultimately, iron willed about what she wants and how to get it...  

oh no.  I've accidentally posted a pic of Linda Darnell.

Anyway - it's a dated portrait of mental illness that treats it a bit like a magical curse, but is pretty good nonetheless.  And manages two of the best scenes I've seen in a movie in recent years, with the Guy Fawkes sequence, and the finale, which I think is how real filmmakers should end a movie (more fire, you cowards).

At a tight 77 minutes, it's a complete story that rides like a roller coaster, ending in a huge twist and turnover at the end.  

I guess my pitch is this:  If the factors in a movie are imagery, sound and performances - they surely line up incredibly well in this movie.  That it stars two actors who died young and tragically, and that this likely got lost a bit in the shuffle as the war wrapped up may be why it's chattered about with a subset of film nerds, but not more in the conversation.  It was also not universally beloved when it came out - so maybe it just hits my sensibilities particularly well.

WTF Watch: Kissin' Cousins (1964)

Watched:  11/15/2024

Format:  Amazon

Viewing:  First

Director:  Gene Nelson

In this movie, Elvis comes down hard on the side of @#$%ing one's cousin(s). 

This is not me inferring something.  This is what happens in this movie from a few different angles. 

To be sure, one is hard pressed to find a more problematic movie than Kissin' Cousins (1964), the movie I watched last night.  And when people say they want to go back to a better America - I want to say "this America?  Cousin @#$%ing America?"  The contemporary reviews of this movie sure weren't great, but they also don't seem overly concerned with how this movie is about two things:  putting ICBM siloes on US soil and normalizing gettin' with yer kin.

It also features suggestions that the best way to win a woman is to pursue her relentlessly and a little bit violently, despite her express wishes.  It goes in hard for sexualizing the infantilization of women.  And probably a dozen other things, but those are some of the eye-poppers.

Like a lot of Elvis movies, it's not so much a musical as an excuse to roll out a new Elvis record.  There's some plot, but it's a framework to stop the eight minutes' worth of story for Elvis to sing a song.  In this way, it's not so much a musical - which uses songs to carry the story and have characters express themselves - as a series of music videos interspersed between goofily delivered plot points.

Doc Watch: Music By John Williams (2024)

Watched:  11/06/2024

Format:  Disney+

Viewing:  First

Director:  Laurent Bouzerau

I don't have a special relationship with the music of John Williams - we *all* have that relationship.  

Music lays there in your mind somewhere next to the smells of your grandparents' basement that will come back to you when you smell something similar, or the taste of the food from your youth.  And John Williams' music was as important to us as pop, as Christmas music, as *anything* we heard growing up.

Of course there are other great movie composers... but probably the vast majority of them I'd put anywhere in the category of Williams are dead.  And none who seemed to hit with every score.

My earliest memories are of John Williams' music.  As a very small kid, post-Star Wars, we'd Imperial March around the house.  I remember the Christmas after Empire came out, my cousin Susan had purchased me the two-record soundtrack, and I lay on the floor listening to it over and over. 

Now, I get teary hearing Leia's theme - and have since Force Awakens reused it as Leia came off the ship. I still feel my pulse quicken to the Indiana Jones theme, or Superman.  I feel that pit in my stomach when I hear the Schindler's List score, or swell with wonder with Jurassic Park and Close Encounters.  Or ET.

We could probably rattle off his scores all day.  He's made plenty (I about gasped when I saw Home Alone for the first time since high school a couple of years ago and John Williams' name was on the film).  Honestly, it's staggering how prolific he's been, and that's part of what the doc tries to cover.  It's not just one Star War - it's 9.  It's not one Indy movie, it's 5.  

For reference, IMDB has him with the following telling stats for credits

• Music Department:  321
• Composer:  177
• Soundtrack:  517 (this is a mish-mash of work he did used on films - like "Superman Main Titles" being used on Superman IV)

I will be honest - I found out I knew absolutely nothing about John Williams while watching the doc.  My assumptions about who he was, his background, his education... all completely wrong.  I won't get into his background - that's in the doc.  But I will say that if I appreciated Williams before, I'm in absolute awe of him now, and don't just think he's a genius, he's a prodigy.

I was also unaware of his personal tragedy, or how he fell in with the biggest filmmakers of the past several decades.  

The doc trots out a who's-who of personalities, none of them a lightweight, to make their arguments for Williams, to talk about their experience working with him, and it's all a delight.  I am fine with the narrative that Williams' genius is innate, he's kind, etc...  the man is the greatest possible argument for the value of sound in movies, and maybe the last great orchestrator for film.

And, yes, I don't understand why - in this era of franchise pictures - we don't have more folks emulating Williams.

What I agree with - and looking at the listings for the Austin Symphony bares this out - is that film music is now as serious and important to symphonies as anything.  Sure, you still have the heavy hitters - some Mozart, Dvorak - but there's the show the whole family will dig.  John Williams.  

Anyway - watch the doc.  I found myself getting a bit emotional.  That music has a hold on you and taps into something pretty serious, and hearing all of it together is *a lot*.  But watch the doc and learn more about the man and the myth.

Quincy Jones Merges With The Infinite

Quincy Jones, maybe one of the single most important musical minds of the past 70 years, has passed.

Personally - Quincy Jones is how I learned what a producer was as a kid as the media dug into whatever they could discussing the shockingly popular Michael Jackson album, Thriller.  

Jones perpetually found himself in the middle of everything, from playing with Lionel Hampton and Tommy Dorsey as a young man, playing regularly on television, to finding himself the composer of a movie in 1961.  

We became involved in scoring movies while continuing to produce music and creating and arranging, this his collaboration with Michael Jackson.  In 1985, he was one of the key figures in the creation of USA for Africa's "We Are the World".

Jones also produced media, behind shows like Fresh Price of Bel-Air and several movies.  I cannot imagine how much money this guy had, but he did okay.

Jones is a true American success story.  A genius, a mover and shaker, a man who seemingly couldn't sit still...  he managed to have massive impact on the media landscape in music, in television creation, in movies...  

Do yourself a favor and look him up on Wikipedia today.  

Kris Kristofferson Has Merged With The Infinite

The great Kris Kristofferson - actor, musician, bad-ass - has passed at 88.  

Happy Birthday, Siouxsie Sioux

Today marks the birthday of Susan Janet Ballion, better known as Siouxsie Sioux of the bands Siouxsie and the Banshees and The Creatures.  And, recently, a solo performer.  

We've been fans of Siouxsie since the video for Peek-a-Boo hit MTV.  And we still think Peepshow is a killer album.

Sioux recently did some dates in Europe.  It's unclear if she's thinking of a longer tour or hitting the US.  If not, fair enough.  But it would be great to see her again.

Richard Sherman Merges With The Infinite

Songwriter and musician Richard Sherman has passed at the age of 95.

Sherman was one half of The Sherman Bros., who co-wrote some of the most familiar songs in the world, including "It's a Small World (After All)" for Walt Disney, and songs for Mary Poppins and Jungle Book.  They worked on stage musicals, screenplays, and wrote music for Disney parks, including "There's a Great Big, Beautiful Tomorrow" and, of course the music for the Tiki Room.

In recent years, Sherman was treated as a Disney emeritus, and would often consult on their re-makes of films he's worked on, like Jungle Book and for Mary Poppins Returns.  

Our pal NathanC, in his professional capacity at Texas Public Radio, interviewed Sherman a few years ago.  You can listen by clicking here.  Or read it here.

Doc Watch: Lolla - The Story of Lollapalooza (2024)

Watched:  05/24/2024

Format:  Paramount+

Viewing:  First

Director:  Michael John Warren

I just recently wound up writing about Lollapalooza and music festivals over on my more "personal journal" blog, League of Melbotis.  Originally the post was about ACL Fest and fading interest in festivals, but I was half-way through with the post when I saw an ad for Lolla (2024), a documentary tracking Lollapalooza from it's late-80's origins to today and into tomorrow.  I'd started the post talking about that festival as well as ACL Fest, so it's all of a piece.

This evening we went ahead and blasted through the three sections of the doc, each about 50 minutes, for our Friday night viewing.  

For a fuller picture, do check out that post at LoM.  But the key points include the fact I was a fresh-faced 16 year old when I attended the first Lollapalooza tour in 1991, and attended the first four years. 

To begin with: The doc has a lot of constraints.  It needs the involvement of the people who were there in the past, it needs the partnership of the people who currently work with and own Lollapalooza (Austin's own C3 Entertainment), and it's distributed by MTV parent company, Paramount, who lent a lot of material to the film.  For all those shackles, I think they *mostly* do a solid job of painting at least an interesting and accurate historical portrait.  It's just when you get to the modern era that I kind of side-eye the doc as propaganda.  

Happy Birthday, David Byrne

I very much remember the first time I heard or saw Talking Heads - because the two happened at the same time.  I would assume it was sometime in 1983 that the video dropped for Burning Down the House on MTV.  This would have made me about 9 years old, and it didn't take much to sell me on a video or song, but the band appearing in white tuxedos in what looked like a ballroom in a shoebox, and absolutely kicking ass - while also being replaced in some shots by folks who were *not them* in white tuxedos, did not need any literal translation.  It just made sense.

At the front of the band was a wild eyed man who looked like no other front-man in rock and roll.  He was thin, almost gaunt, with slicked dark hair and committed to the bit.  And in a landscape of Europop, American rock like Journey and Springsteen, and even the hints of punk that made its way to MTV, it was like seeing your awkward high school chemistry teacher strap on a guitar.

Radio play and MTV were enough for me.  I was into them, but I was also a kid happy with whatever form I was getting music.   I was aware from 4th grade that Talking Heads were not in step with the pop music scene, were not fitting neatly into any categories, but did their own thing.

J Lo Opus Watch: This Is Me... Now - A Love Story (2024)

Watched:  04/19/2024

Format:  Amazon Prime

Viewing:  First

Director:  Dave Meyers

Selection:  K

One of the things they'll tell you in some creative writing classes is "write what you know", but they'll also tell you "don't write a story based on your life and just swap the names out, because now people reacting to a story are reacting to you".  JLo did not receive this advice.

So, what happens when a person who has been wildly successful for decades for things she got good at in her mid-20's, and who lives mostly surrounded by sycophants, decides they want to pen a not-at-all disguised analog of their autobiography as a sort of Moonwalker-esque extravaganza?  

There is *a lot* going on in This is Me... Now (2024), the sort-of-film/ musical video montage/ visual media spectacle which is 100% the creative product of Jennifer Lopez and everything that suggests.

Spoilers:  It will not make you walk away thinking "wow, she's a humble, grounded person" in any way.  And not even really in the fun way that you watch Mariah Carey passing through this plane.  But the thing is absolutely, mind-bogglingly engaging.  You simply cannot believe this thing exists, and with all the resources (her own money!) spent on it, that this is what JLo decided to do.

And I cannot recommend it enough.

Jamie's B-Day Watch: The Sound of Music (1965)

Watched:  03/25/2024

Format:  Disney+

Viewing:  Unknown

Director:  Robert Wise

Selection:  Jamie's birthday choice!

I have no idea when I last watched The Sound of Music (1965).  I've documented most of the movie's I've seen since 2012 - with a break in 2013-2014.  So it's possible I watched it in that window, because it seems like I've seen it more recently than 2011.  Or I just forgot to write it up.  That happens.

It's probably a fool's errand to talk about the movie at length.  It's a bonafide classic, one of the two great American musicals directed by Robert Wise, and the music has permeated culture far beyond the boundaries of the film.  A Few of My Favorite Things has somehow become a Christmas song, which, sure.  Why not?

From a personal standpoint, when I watch this movie, I am about 75% sure this is what my mom wanted out of having kids.  Matching outfits, adventures, happiness and singing.  And while she did an amazing job of mothering, she still wound up with two sarcastic, grumpy, gigantic boys who kind of moseyed through family adventures with a grunt and an eyeroll.  Sorry, Ma.

The Sound of Music is based (extremely loosely) on the real life Family Von Trapp, who were an Austrian family who left their homeland after Hitler invaded.  It was, in it's own way, as dramatic as anything, but also not the short, exciting escape depicted in the film.

It is worth going back and watching for a few reasons.  1)  If your memory of the films is essentially kids prancing around the hills with their governess, it means the last time you saw this movie you went to bed at Intermission.  2)  Putting those songs from the musical into the narrative context of the film is kind of a good idea.  It also tells you a lot about how a musical is supposed to work.  3)  The movie is just masterfully choreographed and shot - and edited.  The entire film looks phenomenal, and clearly no expense was spared for locations, camera placement, time on location, extras, etc...  But also the framing and use of visual language in this movie is kind of mind-boggling.  Check out the Do-Re-Me sequence.  It's phenomenally well done for everything it conveys and the way it's shot and edited.  4) It's not much fun to think about vis-a-vis parallels to current threats to democracy, but at least the Georg in this movie is deeply anti-Nazi and sees the tide rising while everyone else kind of rolls over.  5)  The Lonely Goatherd is an all-time banger.

Watching the film now, I'm always probably more sympathetic than the film wants me to be to the Baroness, who gets tossed aside for the virginal manic pixie dream-nun.  Also, God bless 'em, but they shouldn't have cast the late Charmain Carr as the naive, 16-year old Liesl.  She was probably 21 or 22, looks 24, and it's almost visually confusing seeing her with the actual children.  Meanwhile, a near-30-year-old Julie Andrews is playing a novice, so I'd guess she *should* about 18 or so.  And, btw, Christopher Plummer was about 13 years older than Carr and barely older than Andrews.*  And he's 7 years younger than Eleanor Parker, who plays the Baroness.**  Anyway, once you look at it again, the movie can feel a wee bit jarring and I don't know the in's and out's of why they cast who they did.  

Still, if you want to absolutely want to cock-punch a dude named Rolfe, this is the movie for you.  (man, Rolfe just sucks so fucking bad.  Liesl, NO.)

This is a Robert Wise movie, and I'm going to just keep saying "Robert Wise does not make bad movies".

Anyhoo, I *do* think we're hitting an interesting point as the Gen-Z kids haven't been part of the ritual of watching The Sound of Music on TV once a year or so, and generally people don't really talk about movies with their kids.  So while I'm sure a percentage will have seen this movie, it's no longer the cultural shorthand it was.  And actual Nazis probably seem a whole lot more like something out of a movie than actual people we'd been at war with 20 years prior to the release of this movie.

*apparently the real-life age gap between Georg and Maria was 25 years

**Parker had been in her career peek from the mid-1940's to the mid-50's, but was working consistently til about 1990.  She was the established star in the movie with Academy Awards and whatnot, and she just kills it in this film.  And is not funny looking.

Musical Watch: The Color Purple (2023)

Watched:  03/09/2024

Format:  Max

Viewing:  First

Director:  Blitz Bazawule

You know, if the world doesn't need something, it's a white dude from the Texas 'burbs sliding in and commenting on The Color Purple (2023).  I mean, the novel is an American classic, the Whoopi Goldberg/ Oprah Winfrey/ Spielberg movie is a classic, the play has run forever...  I got nothing.  This is a great and important story at its core, or it wouldn't still be around.

I will say - the cast is mind-boggling, but that's going to happen.  And I couldn't believe the money clearly behind this thing.  Huge cast.  Period settings.  Choreography, etc...

Anyway.  I really, really liked it.  If your biggest problem is "Fantasia Barrino isn't funny looking enough for what people keep saying" (she isn't funny looking at all), that ain't bad.  Also - I now know why Domingo Coleman has been all over the place at awards shows.

I'm not sure it replaces the Spielberg movie in anyone's mind, and certainly not the novel, but it's great it exists.  It kinda got screwed at the Oscars, yeah?

Doc Watch: The Greatest Night in Pop (2024)

Watched:  02/14/2024

Format:  Netflix

Viewing:  First

Director:  Bao Nguyen

Selection:  Jamie

I was 9 years old (about to be 10) when "We Are the World" hit the airwaves.  And then played non-stop for what seemed to be about 6 months to a year.  I can't say when I first heard the song or saw the video, but I do remember unloading the car when my mom came home from shopping (that was one of our chores) and a copy of the vinyl record being in the back of the van.  

I also recall either that year or the next school year being brought into the cafetorium at Spicewood Elementary where we were shown a "making of" doc about the song and the famine in Ethiopia and nearby countries.  (This was the 1980's, VCRs were newish, and teachers were always finding some reason to show a film).  

We're almost 40 years out from the release of the record, so a lot has changed in that time.  And a lot of people have passed.*  And it's hard for me to imagine what this would look like now.  Do musicians even still do benefit work like this, or has streaming killed the potential for raising money?

But the doc, The Greatest Night in Pop (2024) - now on Netflix - is a neat exploration of what happened and why, how it came together and the bumps along the way.  

The film relies on first-hand accounts, pulling in top-tier talent that participated, from Bruce Sprinsteen to one of the masterminds, Lionel Richie.  And, because it was so star-studded, it also features a treasury of video shot from the event of the recording.  

Unfortunately, some of the key players either weren't available for a sit-down (Quincy Jones) or were very not available for a sit-down (Michael Jackson).  But you do get a very good picture of what it must have been like for the people who walked into the room, using interviews with Cindy Lauper, Smokey Robinson, Sheila E., to the camera crew and engineer.

Sometimes you watch a doc and they talk about the situation and the huge impact it had, and you know they're kind of playing it up.  After all, no one wants to watch a doc and at the end they're like "well, it didn't really work out that great."  But USA for Africa, at worst, raised awareness for how people could take action and not just be told that people were starving, and wasn't that too bad.  At best, it did get nutrional support to the people affected by the famine, as well as medicine and other aid.

From the point of view of the doc and the unique event that was USA for Africa, it's absolutely worth watching just to see all of these people in the same room, minus their support staffs and all the trappings of top-tier rock stardom in the 1980's.  It's not like "We Are the World" is still played on the radio, and it's been a minute since I didn't just say "oh, that's the song" and then mentally tune out again.  I'd forgotten you have Bob Dylan in the room, for example.  

But it's human without getting weird, and you're reminded - much as with the Beatles doc - these are people.  And in the 1980's, the media machine really wanted us to forget that pop stars were just good singers in funny clothes.  

When you're a kid, rock stars seem like a permanent fixture.  I didn't think of Huey Lewis as a *new* thing or that he might be star struck being in the room with these people.  But, really, aside from seeing each other at awards shows where they don't *really* interact all that much, when would this many people get together?  When do you get Ray Charles and Kenny Rogers sharing air? Or Dionne Warwick and Willie Nelson sharing a verse?

The doc has it's truly shining moments, and I won't spoil them.  It never does explain why Dan Aykroyd was there - and that someone specifically tried to get him is all the more baffling.  It also doesn't dwell on who wasn't there - beyond Prince.  But for every huge celeb, we're missing a Madonna.  But I also appreciate that they didn't talk about why people were left out.

Anyway, it's a fun one to watch.  

But, seriously, it's weird this didn't become an annual sort of thing. 

*we miss you, Tina  

Happy Birthday, David Bowie

Here's to the great David Bowie on his birthday.  

The picture above is from about 2004, which is around when Jamie and I saw him in concert for the second time.  

What struck me about that show was how different it was from when I'd seen him on the Outside tour, where he was doing a thing tied to the music, and was being a very serious rock god.  In 2004, he was playing new stuff and playing the hits and having fun bantering.  Which, in it's own way, was kind of weird as it so defied my expectations.  But, man, it was a fun show.  

Here's to the The Thin White Duke.  The world literally hasn't been the same since we lost him.

Merry Christmas Eve from The Signal Watch

Merry Christmas, pals.  

I don't think many of you are online on Christmas Eve, and that's a good thing.  But if you are online, Jamie and I wish you the very best.   May your night be merry and bright.

One exciting bit this Christmas has been the Apple+ special, Hannah Waddingham: Home for Christmas.  We're Waddingham fans, and hope you are, too.  Anyway, enjoy her belting out "O, Holy Night".

And as we wrap each Christmas Eve here at The Signal Watch, please give Ms. Darlene Love a listen - this year, with Cher!

Holiday Classic Watch: Holiday Inn (1942)

Watched:  12/04/2023

Format:  Prime

Viewing:  Unknown

Director:  Mark Sadnrich

My understanding is that this movie, released in August of 1942, landed hard with Americans as we were facing the reality of what was going to be a long and deadly war on two fronts.  More specifically, this movie features the screen debut of "White Christmas" (he's sung it on the radio post-Pearl Harbor in 1941), which Bing Crosby would turn into the best selling single of all time with 50 million copies ringing up the tils as it became a sort of anthem for wishing for a return to normalcy.  

Holiday Inn (1942) is a story about a musical trio breaking up as the singer (Crosby) and the girl are breaking off to start a new life running a farm in Connecticut when the girl runs off with the dancer (Fred Astaire) to pursue dreams of stage glory.  Crosby eventually turns the farm into an inn where he can put on shows, just on holidays, trading the dream of stardom in exchange for just having a bit of fun every once in a while.  

Along comes a new girl, and a series of shows for every holiday starting with New Year (after introducing "White Christmas" during the meet-cute).  Meanwhile, Astaire is dumped and returns to the Inn, and begins pursuing the new girl whom Crosby has fallen hard for.

Anyway, the story is just a framework for Bing Crosby to dooby-doo his way through songs and Astaire to knock your socks off.  Unfortunately, I don't think it leaves you feeling particularly great about a single person on screen except for Crosby's chef, played by Louise Beavers.  

There is mention of the war during the WWII sequence as the movie pauses to reflect on what we're fighting for in song, and shows film of our militarization and FDR at the mic.  While the film exists as light entertainment, its hard to imagine what July 4, 1942 was actually like as the country leaned into what was clearly going to be a multi-year effort in which we'd lose countless servicemen and women.  But what is apparently true is that Pearl Harbor occurred during filming and they decided to really step up the July 4th sequence.

It is likely you've heard several songs from this movie over the years.  "Easter Parade" gets trotted out.  And it's worth mentioning Crosby would team with Danny Kaye for the 1954 classic White Christmas while Astaire would beat him to the punch with 1948's Easter Parade.

I was surprised to see the version on Amazon Prime retains the blackface number (Lincoln's Birthday).  Though I remember seeing it on my TV Christmas of 1994 when I first watched the movie, basic cable cut the number decades ago.  And, yes, it is that bad.  It's also a plot point, so the movie can be marginally confusing without the number, but to keep it in...   Look, I am not going to tell you what should or should not offend you or what criteria should be used to play or not play a film.  I am fine with cable cutting the sequence to keep the film out there, and from an historical perspective, the movie is a reflection of the time in which it was made.  As film fan and historian, yes, keep it in.  As a person who knows this is f'd up, and always was - you can skip the movie altogether if you like.  There are clips of not-offensive scenes on YouTube.  Or, jump over the scene whilst watching.  You do what works for you.

We chose to ffwd through the sequence once we realized it was there.  I've seen it, don't need to see it again.  

There's a whole discussion to be had about how it seems the younger generation wants to deal with older media, and that's to stuff it down the memory hole.  And I'll argue some film historians are currently trying to make it seem that very-mainstream-Hollywood was out of step with the general attitudes of the public at the time of a film's release, something I think there's more than ample evidence to suggest is not true.  We can discuss at some point, but that's a lot to hash out.*

What it does mean is that Holiday Inn is a fascinating bit of history in a single Christmas movie.  The film spun off multiple hit singles we still know, it sold people on the idea of secular Christmas songs, it does some crazy stuff where part of the illusion in the film's final minutes is *showing* the pulleys and levers of the illusion right out in the open to create a secondary illusion (and showing how films were made in 1942).  It shows some really depressing racism, sexism, etc... and it's a time capsule containing war propaganda. 

Plus, two of the biggest stars of the era.  Happy Holidays, film lovers.

*this is 78 years after *slavery*, and 6 after Gone With the Wind.  It's not just your elderly relatives that were just wildly racist.

Concert Film Watch: Talking Heads: Stop Making Sense (1984)

Watched:  10/08/2023

Format:  Alamo

Viewing:  Unknown

Director:  Jonathan Demme

I very much remember seeing the video for Burning Down the House on MTV at a neighbor's house in elementary school.  We watched a lot of MTV while hanging out in their living room, and so I became familiar with bands as much through visuals as the music.  And even in those early years of MTV, Talking Heads knew how to take advantage of film medium from jump.  

Over the years, I became more of a Talking Heads fan, picking up Naked on the say-so of a clerk at a music and video store near my house.  I'd asked "okay, so, what's new that's in that you'd recommend" and this guy looked at this dumb-looking 8th grader and decided to take the Pepsi Challenge, I guess, offering me that tape.  Well, I bought it and I loved it.

I slowly picked up all the Talking Heads output, and by college, had a subway poster of the band hanging in my room when that was still a thing young people did. 

In 1984, Talking Heads had teamed with director Jonathan Demme to produce a concert film.  I was aware of the movie mostly because my 4th grade art teacher had played it during class.*  No, I have no idea how he had a copy.  I guess they were selling them at record stores.  But he used it to try to explain art could be music and film, which was not a lesson my classmates were particularly ready for.

Hey. My pal made an EP. Give it a listen!

I take a tremendous amount of joy in the diverse creative endeavors of my pals.  

This evening, my longtime chum, Matt M., sent me an email informing me he'd released an EP.

It's excellent ambient stuff.  Give it a spin!

Material Watch: Madonna: Truth or Dare (1991)

Watched:  07/22/2023

Format:  BluRay

Viewing:  Second

Director:  Alek Kesheshian

It's probably a cultural bellwether that the biggest name in music right now is Taylor Swift, who is a fine singer/ songwriter and who is about as challenging as a pair of fuzzy socks.  Like, I get that she speaks to the suburban experience like no one's business, but she's not exactly out there getting angry notes from the Pope.

But not so Madonna circa 1990 when this documentary was shot and subsequently released.  The Material Girl was not poking anyone in the eye, but she was giddily pushing the envelope enough that she was constantly getting free publicity from outraged pearl clutchers.

I was something of a secret Madonna fan around the time this movie came out.  Attempting a persona as a fan of music which sat outside of pop and the Top 40, I didn't advertise that I knew all the words to La Isla Bonita.  That said, it was expected you'd seen Madonna's videos and knew her songs as both were inescapable through the mid 80's to the mid-90's.  And I wasn't avoiding Madonna.  She, uh, was not funny looking, and her songs were catchy, and on the radio, fairly non-threatening.  And, right out of the gate, she started with Like a Virgin, which always felt like it should be dirty, but you had to make it so, and so it landed on regular MTV rotation.  

Icon and Legend Tina Turner Has Merged With the Infinite

Singer, dancer, R&B legend, Rock Icon and Queen, Tina Turner, has passed.

In the fall of 1996 I was at a party at Jamie's apartment, and someone said something about Tina Turner being passe, and - in the way only the right number of cocktails can steer you - I found myself giving an impassioned speech about the history, legacy and import of Tina Turner, and that we were lucky to share the planet with her.  

I swear to god, I hadn't thought that hard about Tina Turner since sorting through the lyrics to Private Dancer as a kid.  I hadn't ever even see What's Love Got To Do With It? because the idea of watching an entertainer I enjoy get beaten by fucking Ike Turner was in no way appealing.  I should have seen it (still haven't for same reason.  Fuck Ike Turner.)

I guess the speech stuck with Jamie, because a few months later she produced Tina Turner tickets for us to see her at the Alamodome in San Antonio.  And, friends, that show was amazing.

The crowd was made up of all demographics.  I had never seen the concept of "dress" before, but it was on full display there (I was a dopey 22 year old in college-kid concert clothes) and I immediately got it and was aware I was improperly attired.  Folks from the aged to children were in attendance.  And Jamie had bought seats at about the 13th row, dead-center facing the stage.  The view was phenomenal.

I still think about that show and Nutbush City Limits maybe once a month.  And GoldenEye, because, I mean, y'all know me and Bond and Bond themes, and it was wildly sexy, to boot.

In 1984 when Turner exploded back into the pop culture consciousness with the single and video for What's Love Got To Do With It?, I was 9 and pretty much unaware of who she was.  I think she'd been on MTV for a while when my dad made mention of "Oh, Tina Turner" and I got that she was not a new act and this was, in fact, a sort of return to prominence for the artist.  I sort of vaguely had ideas of what her stage show and persona had been via descriptions from people, but this was all years before YouTube, and so it wasn't until the film came out that I got what she'd been with Ike when TV ran clips.

And then, of course, YouTube had clips pretty early on.  

Man, she's just amazing

Admittedly, maybe I should have watched that movie because it wasn't until the 2021 documentary Tina was released that I got the full picture of Turner's life, and of the abuse and career devastation that followed until 1984.  I highly recommend the doc, which we discussed when it was released.

Turner was so popular that I never bothered to buy her records until the aforementioned concert.  She was just on the radio all the time or on VH1 and MTV.  I find it odd that she doesn't get the same play as other 1980's and 1990's artists on oldies stations as she was so a part of the soundtrack of everyday life for so long, and I don't quite get how she's been shelved to the point where I'm not sure folks ten years younger than me get who she was and the scope of her stardom.  But she'd also pivoted out of the world of R&B to rock in the 1980's, and that's probably a whole other discussion about rock's legacy.

I'm the guy who thinks she was awesome in Thunderdome, and was welcome wherever she showed up.  If I can recommend one record to get, or put on your streaming service of choice, it's Simply the Best.  Which is a greatest hits which prominently features one of her best hits, The Best.*  Which has been my favorite Turner song for 25 years now.  Wowsers.

I can't put my finger on exactly what I liked about Turner.  Clearly the stage show I saw cemented her in my mind.  But her voice was perfect for both rock and R&B.  Her presence was elegant and exuberant at the same time.  She was gorgeous and could dance like mad.  Really, she was one of the most complete packages of American musical performance talent I can think of.

  

Turner married a Swiss gentleman quite some time ago, and the pair retired to Switzerland in more recent years.  Tina did her farewell tour and sort of stuck to it.  I salute that.  

In 2021, she was inducted into the Rock and Roll Hall of Fame.  There's a musical based on her life that's a Broadway show that's now also touring.  

I don't think Turner is anywhere near forgotten or will be.  Her place is secure for the next several decades.  

But, yeah, I'm crushed to hear of her passing.  She was the best.

Y'all take some time and listen to some Tina tonight.

*which, yes, Schitt's Creek took the song and made it their own