Monday, December 18, 2006
Songs for a Playlist on an deserted Island AKA The Ultimate Warner Mix–music that continues to blow me away after every listen.
So I was a little bored at work today and started this list in my head.
Check it out!
Seen and Not Seen/This Must Be the Place (Naïve Melody)-Talking Heads
Lily, Rose, Mary & the Jack of Hearts-Bob Dylan
Sign of the Times/The Beautiful Ones-Prince
Meeting Across the River-Springsteen
Notorious Thugz-Notorious BIG/Bone Thugs
Friends/The Rover-Led Zeppelin
Lucky/Motion Picture Soundtrack-Radiohead
Teenage Wildlife/Life On Mars-David Bowie
Rocks Off/Let It Loose-Rolling Stones
Hazey Jane II-Nick Drake
Synchronicity II-The Police
My Name is Jonas-Weezer
All Things Must Pass-George Harrison
The Truth-Youssou N’Dour
Only the Young-Journey
You Got Me-The Roots
Dancing Barefoot-Patti Smith
Heart of the Sunrise-Yes
Sweet Thing-Van Morrison
Two Points for Honesty-Guster
Teenage Riot-Sonic Youth
April Fools Day-Rufus Wainwright
Life Goes On-Tupac
Just In Time-Nina Simone
A Warm Place-Nine Inch Nails
The Letter-Joe Cocker
Pale Blue Eyes-The Velvet Underground
Tonight, Tonight-Smashing Pumpkins
Lucky Man-The Verve
Deacon Blues-Steely Dan
Complete Control/The Card Cheat-The Clash
Bizarre Love Triangle-New Order
Lover You Should Have Come Over-Jeff Buckley
Miseducation of Lauryn Hill-Lauryn Hill
The Big Ship-Brian Eno
Can You Feel It-Karl Denson
The Boy in the Bubble-Paul Simon
Watermelon in Easter Hay-Frank Zappa
Maiden Voyage-Herbie Hancock
32 Flavors-Ani Difranco
Stage Fright-The Band
Autumn Leaves/Blue In Green/Miles Runs the Voodoo Down-Miles Davis
Oh Yoko-John Lennon
Forgotten Love-Jaco Pastorius
Perfect Day-Lou Reed
Move On up-Curtis Mayfield
Hatian Fight Song-Charles Mingus
Let's Call the Whole thing Off-Louis Armstrong & Ella Fitzgerald
Your Precious Love-Marvin Gaye & Tammi Terrell
Butterfly in Reverse-Counting Crows
Red Clay-Freddie Hubbard
Where's Sly-Medeski, Martin, and Wood
In a Sentimental Mood-John Coltrane & Duke Ellington
Sultans of Swing-Dire Straits
If You Want Me to Stay-Sly and the Family Stone
Slow Like Honey-Fiona Apple
The Ghost Song-The Doors
I'm sure I'll keep adding to the list as time goes on, but this pretty much sums up what I dig.
Posted by C.W.Sills at 8:34 PM
Monday, November 27, 2006
C Dub's Top Fifteen Films of 2006 (So far...)
1) The Departed
2) The Fountain
3) The Proposition (Officially 2005)
4) Half Nelson
5) Little Children
7) The Queen
8) The Prestige
9) Who Killed the Electric Car?
10) United 93
11) Water (Officially 2005)
12) The Science of Sleep
13) Casino Royale
14) Thank You For Smoking
15) A Scanner Darkly
MOST ANTICIPATED FILMS YET TO COME:
The Good Shepherd
The Good German
Children of Men
The Painted Veil
Worst Film Thus Far: Tie for "Little Man" & "Let's Go to Prison"
Freakiest Film of the Year: Hard Candy
Best, Get Your Ass Up and Help Save the Planet Film of the Year: An Inconvenient Truth
Best Slap Stick Horror Film of the Year (The Evil Dead Award): Slither
Scariest Motherfucker of the Year: The Descent (Officially 2005)
Hands Down Funniest Film of the Year, Possibly the Decade: Borat
Wednesday, November 15, 2006
Ladies and gentleman I give you David Bowie as Jareth the Goblin King circa the twisted 1986 muppet tale, "Labyrinth." I think this photo pretty much sums the film up...
Posted by C.W.Sills at 9:23 AM
Tuesday, November 14, 2006
To honor the recent DVD release of the Wayans' romp of a comedy, "Little Man," I decided to post my original review of the film from the IDS circa July 20, 2006. I'll preface by saying, films don't get any worse than this.
Crazy Little Thing Called Crap
By C. Warner Sills
It's fair to say that my expectations going into "Little Man" were about as low as the main character's center of gravity. A movie like this is going to be stupid. We know that. But stupidity, if done right (see "Airplane!," silver fox actor Leslie Nielson or Monty Python's entire career), can be very funny. Unfortunately the Wayans Bros. decided to go beyond stupid, entering a world of, wait for it, shit-fueled unadulterated suck.
Calvin AKA Little Man (Marlon Wayans) is vertically challenged. Calvin also chose a life of crime. After being released from a stint in prison, he robs an extremely valuable diamond from a poorly run jewelry store with his friend/driver Percy (Tracy Morgan, whose only funny line, "word." may also be the only funny part of the film).
After Calvin and Percy flee the scene with the police on their backs they stash the bling in the purse of a random woman in a pharmacy.
The random woman is Vanessa (Kerry Washington) who, believe it or not, just found out that she wasn't pregnant with the child that her husband Darryl (Shawn Wayans) desperately wants to have. Calvin, overhearing this discussion, decides to shave, dress like a baby and show up on the poor couple's doorstep to infiltrate an elaborate forced adoption scheme to get back the diamond. Badamn! We now have a plot folks.
Eventually a mob boss (Chazz Palminteri, who I'm guessing has a child to put through college or just wanted a wicked yacht when he signed on for this role) pops up who also wants the diamond. Enter the poorly delivered suspense element.
I wish that I could tell you that stupidity tries, and that "Little Man" has its funny moments. I wish I could say that, but I can't. Instead of utilizing the clever parody and social satire that made the first two "Scary Movies" somewhat funny, the Wayans instead rely on poop and booby milk jokes and seven, count them, seven moments where someone is hit in the balls.
Then there is the creepy CGI miniature Marlon Wayans, whose size at times rivals that of a toddler or a My Buddy doll but then will magically grow in size (take the scene where the little man drives an automobile in the film's little car chase scene) dwarfing even the Stonehenge midgets from "Spinal Tap." But hey, who said continuity was important.
Judging by the stellar box office results of the Wayans' last film, "White Chicks," and the two giggling pre-pubescent mall urchins sitting two rows ahead of me at the matinee, "Little Man" will probably do quite well, maybe even warranting a sequel--"Bride of Little Man" for example. This is unfortunate since if I were given the choice of screening this film again or falling off a Kawasaki Ninja motorcycle going 50MPH on a gravel road, I'd lean towards the crotch rocket.
Jacob’s Ladder (1990)–R
Directed by: Adrian Lyne
Starring: Tim Robbins, Danny Aiello
I’ve often said that “Jacob’s Ladder” is by far one of the most frightening psychological thrillers out there. Adrian Lyne is one of those directors who unfortunately seemed to have been typecasted as solely an “erotic thriller” filmmaker, being known mainly for his successes–“Fatal Attraction,” “Unfaithful” and “Nine ½ Weeks.” “Ladder” proves that Lyne is not only a misrepresented master but also extremely underrated.
“Ladder” is a film that treads many different waters. At its surface the film deals with the Vietnam War, the use of hallucinatory drugs during combat and the post-traumatic stress disorders that followed. On the other hand the film examines the human psyche, more specifically, how the mind can play unforgiving tricks on you during harsh times. Finally the film is an allegory about accepting a fate and moving on with your life. To say any more would defeat the film’s purpose and magnificent twist.
“Ladder” tells the story of Jacob Singer (Tim Robbins, in by far one of his best and underappreciated performances), a Vietnam vet who wakes up on a New York subway one night and enters a world on the fringe of reality and dreams. At first his visions warrant a double take–people with weird horns and tails, train cars with eerie ghost like passengers and literal demon like creatures begin to haunt his every move. While Singer cannot explain his the frightening apparitions, he likens the torment of his life to that of living in hell and begins to wonder if his experiences in the jungle is the cause.
As Singer shifts in and out of his supposedly haunted reality he begins to have strange and incomplete flashbacks from the war, specifically one night full of carnage and haziness. Singer seeks out fellow vets as well as his former service shrink but comes up short on answers and is on his own on his quest for answers.
“Ladder” is a film that takes a lot of patience and a keen eye for details. The answers and culmination of the story are presented but not spoon-fed. Some viewers may find this style and the film’s editing to be confusing but on second viewings the film as a whole is quite rewarding.
Robbins is one of those actors who, personally, I can take or leave. He shined in early films like “The Player” and “The Shawshank Redemption” but lately hasn’t blown me away, even despite his unwarranted Oscar for “Mystic River.” In “Ladder” Robbins not only nails the role of Singer but also gives the character a level of shear innocence and frustration with life that makes it a standout performance.
Other supporting roles equally compliment Robbins. The great Danny Aiello (“Do the Right Thing”) shines as Singer’s chiropractor and personal guardian angel type friend. The highly underappreciated actor has that kind of soft-spoken wisdom to him that benefits the film and helps the flow of the often-chaotic nature of the film.
It’s hard to sum up in words why “Jacob’s Ladder” is not only a successful thriller but also a very sophisticated and smart look at a person struggling with fate and his beliefs. As the end credits roll and the soft and eerie piano soundtrack starts up again, all the pieces of the puzzle come together and we are left with a lot to ponder. And while the film may seem a bit dated at times it has survived the tides of time and holds its own to any Shyamalan type thriller out there. Always a sign of a classic film.
Monday, October 23, 2006
The Last King of Scotland–R
Starring: Forest Whitaker, James McAvoy, Gillian Anderson
Directed by: Kevin Macdonald
Forest Whitaker (“Platoon,” “Bird”) has come along way since his cameo as the hard-hitting all-American high school football star in “Fast Times at Ridgemont High.” “The Last King of Scotland” marks the magnificent character actors’ 40th feature film and his performance is not only prime Oscar fare but one of the best of his career. This being said, the film itself, while being incredibly suspenseful and interesting, at times feels like nothing more than a vehicle for Whitaker to shine in his flawless portrayal of the former Ugandan dictator, Idi Amin.
Whitaker is no stranger to playing the role of scene-stealer. Throughout his career he has nailed some of the most noteworthy roles in brilliant films such as Jim Jarmusch’s “Ghost Dog: Way of the Samurai” and Neil Jordan’s “The Crying Game,” to the more mediocre fare like “Phone Booth” or 1995s creature feature, “Species.” Whether the material is thick or thin, Whitaker somehow always manages to mold his multi-faceted roles into intriguing standout characters.
In “Scotland” Whitaker devours his role as Uganda’s former dictator and worldly monster down to the finest of details. Besides mastering the thick Central African accent, Whitaker fully embodies the almost bipolar aspects of Amin. When he is first introduced Amin is jovial and inspiring to both the naïve protagonist on screen, Nicholas Garrigan (McAvoy), but also to the audience despite our predisposed knowledge of the horror’s to come. As the film progresses and things fall apart, we see the darker side of Amin erupt on screen. This kind of stellar acting feat is what made us sympathize with past venomous celluloid characters such as Adolph Hitler in 2004s “The Downfall’s” or to an extent the fictional Dr. Hannibal Lector–through raw humanism and benevolence even the most horrific of characters can draw us in and toy with our emotions.
“Scotland” is based off a number of different personal accounts and stories about Amin’s brutal term as President of Uganda during the 70s. The young Garrigan is a brash, recently appointed Scottish doctor who decides he’s not cut out for the simple and trite medical practice of his father’s. Through a literally random choice he decides to move to Uganda and try something exotic and, according to him, “fun.” Not too long after he begins his aid work he is befriended by the recently appointed Amin, again through an act of shear randomness.
Amin, admiring the young doctor’s fearless and uncorrupted nature and impartiality to British/Ugandan politics, decides to hire Garrigan on as his own personal physician, a job that he accepts almost entirely on the latent prospect of a more glamorous and possibly exciting future. Garrigan has no real knowledge of the history of Uganda or Amin and as he moves closer and closer into Amin’s personal circle of trust and the chaos that surrounds him we watch his naïve nature slowly peel away.
McAvoy nails his performance as Garrigan but fails to truly leave us with any lasting impression of his portrayal. When it’s all said and done, one can’t help but wonder if some other young Scottish actor could have equaled or bested Garrigan. Ultimately McAvoy serves as nothing more than an aid/fuel for Whitaker’s immaculate adaptation of Amin.
“The Last King of Scotland” is worth seeing, if anything because of Whitaker’s performance. The film is an honest and sobering look into the tortured soul of one of history’s many depraved dictators. Similarly to 2004s “Hotel Rwanda,” which featured a stellar performance by Don Cheadle but was ultimately a fairly forgettable film, “Scotland” is an interesting look at one of history’s bleaker chapters but fails to present any awe-inspiring messages. The film may not leave as lasting impression on you as say other eye opening films like, “The Downfall” or this year’s highly overlooked Indian film, “Water,” however, come Oscar season one can only hope that Whitaker’s performance gets the nod he deserves.
Thursday, September 21, 2006
Concert Review: Eric Clapton
September 20, 2006
The United Center
The Cream of Clapton, Live
Eric Clapton, one of the godfathers of blues and rock guitar, played a near flawless show covering his early and latter days Wednesday night to a semi full United Center. While some people might coin the British rock prodigy the Cadillac of guitar of players, they are lying. If such a comparison must be made Clapton is the 50s era fire-red Maserati coupe of axe players. He is the kind of legend whose talent and career are unprecedented. While some of his recent solo endeavors have been mediocre at best, his slow and successful turn towards more straight blues proves that Clapton is still one of those rare musical gems of yesternow.
Dressed casually in jeans and a pink Oxford and sporting his legendary black Fender Stratocaster, ‘Slowhand’ Clapton and his band took the simply lit/decorated stage opening with the always classic, “Pretending,” from Clapton’s 1989 solo release, Journeyman. The blues rock anthem was followed by the faithful blue infused rendition of Bob Marley’s “I Shot the Sheriff,” followed by the B-side, “Got To Get Better In A Little While” from Clapton’s Derek and the Dominos days. The first three tunes, melded together without pause, were perfect precursors for a night of songs covering Clapton’s entire cannon, from his early Cream days to his long blues jams. No rock was left unturned at the lively arena.
The opening trio was followed by a smooth 15-minute slow blues jam of, “Old Love” (also from Journeyman), which featured guest guitarist/song’s co-writer and long time Clapton collaborator, Robert Cray, whose band also opened the show. The song, which proved to be one of the main highlights of the night, featured beautiful two virtuosic guitar solos from Clapton and Cray.
Other highlights from the first half of the show included “Motherless Child” (a song improved when played live) from the 1994 record, From the Cradle. Half way through the show the band performed a four-song sit down acoustic set, featuring wonderful versions of the blues standard, “Nobody Knows You When You’re Down and Out” and Clapton’s “Running on Faith.”
The latter half of the performance showcased some of Clapton’s best-known anthems, including the rendition of “After Midnight” from Clapton’s first solo release, the sappy but always simple and moving, “Wonderful Tonight,” the psychedelic “Cocaine,” and the Derek and the Dominos era version of “Layla,” which along with Hendrix’s “Little Wing” and Dire Straits’ “Sultans of Swing,” remains to this day one of the finest guitar rock pieces ever recorded.
The band played one stirring encore of the blues standard “Crossroads,” another of Clapton’s timeless classics. The version again featured brilliant vocal and guitar styling from Robert Cray, who sang the first two verses and joined Clapton on the last.
While Clapton has aged since his early days with The Yardbirds and Cream (he is quickly making his way to 70), his voice and sound has not deteriorated like so many musicians of the past who fade away. Rather Clapton has found a very unique style and sound that shows career maturity. His band, featuring two young guitar virtuosos, Derek Trucks (kin to Allman Brothers drummer Butch Trucks) and Doyle Bramhall II, respectively, add a perfect blend of country rock and blues slide guitar work to Clapton’s own crisp axe chops.
With a new album, The Road to Escondido, slated for a November release, and probable future solo and collaboration tours with blues legend J.J. Cale, it is clear that Clapton is not retiring anytime soon. Still, for anyone interested in rock and blues music he is one of those must see artists who truly is one of rock music’s best-kept legends.
Monday, September 18, 2006
Starring: Ryan Gosling, Shareeka Epps, Anthony Mackie
Directed by: Ryan Fleck
Half Nelson, Full Drama
“Half Nelson” may be one of the hardest and depressing films you will see this year but it is also one of the finest. It features some of the best performances of the season, specifically that of Ryan Gosling (“The Notebook”) and his 17-year-old counterpart, newcomer Shareeka Epps. During the early part of the fall film season where film releases have been disappointing at best, “Half Nelson” is refreshing reminder that low budget independent filmmaking still has the ability to best its Hollywood counterparts.
“Nelson” tells the story of Dan Dunne (Gosling), a 20 something inner-city middle school social studies teacher who yearns to make a difference in his confined world. During his days he lectures his fairly attentive students about dialectics, history’s constant shifts and the corruptions and social politics of governments including the U.S. After school he coaches the girl’s basketball team, a team that as he tells a parent, “just can’t quite get the ball in the net.” Outside of the one place where he actually feels good about himself, however, Dunne is a train-wreck of a man.
His nasty addiction to crack cocaine prevents him from completing a children’s book he clearly has been talking about for quite some time. He is unable to maintain a steady relationship, lives in a ratty apartment, hangs out in seedy bars and on a regular basis self-loathes himself to sleep only to wake up for a new day of classes.
We are never given any indication to how he reached his current state of mental and physical health and in many ways we don’t need a back-story. Dunne is a good man trapped in the body of someone seriously ill. During the day he comes alive in front of the chalkboard, getting as much out of his difficult class as he can. During the night he roams the streets and bars with the mind set of someone lost in the world.
In one scene a parent of an old pupil confronts him at a dive bar as he is slouched over a glass of whiskey. The man tells Dunne about his daughter who is in her second year at Georgetown studying history while he struggles to put a name to a face. If only someone had told Dunne earlier that his work was in fact making a difference.
After an unfortunate and embarrassing moment with one of his students and team member, Drey (a wonderful Shareeka Epps), Dunne begins to form an unlikely friendship with the eager student who has had her share of hardship as well. Dunne gives Drey rides home, teaches her about the troubling sides of history and begins to warn her of a local drug dealer named Frank who is eager to employ Drey. Dunne is the last person to warn someone about drugs but still feels the need to help this one student; fueled by the idea that is he can help just one person his life will have meaning.
Epps and Gosling’s on-screen chemistry is perfect and is very reminiscent of Robert Deniro and Jodie Foster’s friendship in “Taxi Driver,” a film that in many ways shares similar themes to “Half Nelson.” Both films examine the darker sides of society and the need for change.
Gosling is one of those rare young actors who has done his share of teen romance dramas and comedies but has proven that he is capable of moving outside this typecast. The Canadian born actor devours Dunne’s character down to the finest details. The constant wiping of his drug induced sweat from his face as he teaches his students, the thick Brooklyn accent, his street mannerisms and above all his somber eyes, which at times speak more than his words or actions, are all examples of an actor’s masterful style that goes beyond mere method acting.
“Half Nelson” is not an easy film to watch as it leaves the viewer uncomfortable and unsure of whether it’s okay to sympathize with Dunne’s character. It is, however, an honest look at the struggles with depression, tackling the truth, discovering one’s place in the world and above all drug addiction. Add to this stunning cinematography, a moving score and wonderful supporting roles and you get a little film that sets out to say a lot about society and the human psyche and ultimately succeeds.
Friday, September 15, 2006
One Of The Catchiest Songs Ever
I first got introduced to The Pixies "Doolittle" album when I was a young lad. A friend of my dad ripped me a tape of the album (tapes. Remember those?) after I told him about my interests in Alt bands like Nirvana and Pearl Jam. I remember giving the brilliant album a listen to but never truly got into it. During high school I not only resurrected the tape but also realized that The Pixies were in fact one of those rare great bands to come out of the 80s and early 90s. I often revisit Doolittle, Surfer Rosa and Bossanova on a regular basis now but a week or so ago I realized that one of their songsÂ–Â–one of the few radio hits, "Monkey Gone to Heaven"Â–Â– is in fact one of the catchiest tunes out there. The song is so catchy that since my epiphany I have had the song's ridiculous but brilliant hook stuck in my head (much to the dismay of my father who can't for the life of him realize what the hell I'm saying).
The song in a nutshell is kind of an allegory for growing global environmental concerns. That and a monkey. With lyrics like,
there was a guy
an under water guy who controlled the sea
got killed by ten million pounds of sludge
from new york and new jersey
this monkey's gone to heaven
the creature in the sky
got sucked in ahole
now there's a hole in the sky
and the ground's not cold
and if the ground's not cold
everything is gonna burn
we'll all take turns
i'll get mine, too
this monkey's gone to heaven
it's hard to say what the hell singer Black Francis is actually going on about. However, one this is for certain, the song will get sucked into your head. The Pixies were one of those rare bands with a sound and style that was different and bizarre but worked really well. They recently reunited for a sold out world wide tour. Surfer Rosa and Doolittle are both essential owns and for the adventurous, the underrated Bossanova is also worth checking out. Bossanova also features their best song ever written, "ANA," a must download. So if all goes well this entry will help me rid this song from my head as I am starting to tire from reciting "this monkey's gone to heaven" everywhere I go.
"if man is 5
then the devil is 6
then god is 7
this monkey's gone to heaven"
Posted by C.W.Sills at 1:18 PM
Wednesday, September 13, 2006
(The following review was published in the Indiana Daily Student March 30, 2006)
A PURPLE PAIN
No matter how often the media poke fun at his bizarre and reclusive lifestyle or how many times Dave Chappelle ranks on his quirky, sexual purpleness, Prince is still one hell of a talented musician. Which is why listening to 3121, the newest addition to the artist formally known as the artist formally known as Prince's repertoire, is so disappointing.
Following in the footsteps of 2004's Musicology, a highly successful, but fairly mediocre album, Prince attempts to return to the '80s synth-pop rhythms and sounds that made him exclaim, "Baby I'm a star," and mixes things up with a bit of hip-hop and Latin instrumental flavor. Unfortunately, the result is an album that tries hard to rekindle a sound of the past, but ultimately comes out lost and confused in an age where rap and hip-hop make up mainstream pop.
The album opens up with the title track, a funky, amusing little electro house beat about what we can only imagine is Prince's address to his personal garden of Eden. With lyrics like, "Put your clothes in the pile on the floor / Take your pick from the Japanese robes and sandals / Drink champagne from a glass with chocolate handles / Don't you want to come? 3121," one can't help but assume that this album is more a personal invitation into the secret and opulent lifestyles of the billionaire Jehovah's witness than anything else.
In the world of 3121, at least in the first six tracks, every day seems to be a party, a party with a bad girl named "Lolita," lots of "Incense and Candles," "Black Sweat" and of course "Love." In fact, the first half of the album plays out more like a self-indulged string of sexual infused funk beats (which might or might not be fantasy), than the catchy pop songs from the '80s that Prince is most commonly known for.
The album picks up the pace during the second half, however, with a number of tracks that are reminiscent of the pop life of Prince's past.
"Fury," which is the best song on the album, feels like a highly polished B-Side cut from any of Prince's truly classic masterpieces, the flawless Purple Rain, the politically charged Sign 'O' the Times and even the campy but boisterous 1999. The song opens with a driving drum beat, catchy keyboard hook that nicely resembles the works of former Revolution member Lisa Coleman and fiery axe licks that remind us Prince is still a guitar virtuoso.
According to the liner notes 3121 was produced, arranged, composed and performed by Prince himself, a feat that shows both musical chops but also quite possibly control issues. There are a couple 'guest per4mers' including funk saxophone maestro Maceo Parker, some shouts and sexual grunts from Prince's '90s band lineup, The New Power Revolution and a surprisingly soulful balladic duet, "Beautiful, Loved and Blessed," featuring R&B singer Tamara, who nicely compliments Prince's highly feminine voice in the same way Shelia E. did back in the purple velvet decade of the '80s.
Overall the album seems to be lost somewhere between classic Prince fare and the sexual soul world of someone like Barry White. It's quite generous of Prince to invite us to his purple, sexual soirée, however, it's difficult to truly get into the world of 3121 while we're doing our normal daily routines like walking to class or riding the C-bus. Perhaps incense and Japanese sandals do in fact make the listening experience all the more rewarding.
Tuesday, September 12, 2006
September 11, 2006
Gnarls Barkley, the musical spawn of two of today's most fascinating hip-hop hipsters, brought in the noise and the funk to a semi full Riviera theater Monday night. The group, founded by Atlanta rapper/singer Cee-Lo (once frequent Goodie Mob collaborator) and DJ Danger Mouse, whose Beatles/Jay-Z mash up "Grey Album" took the internet by storm a couple years back, flooded the airwaves this summer with the ever-so-catchy mega hit, "Crazy." While their concise live act was entertaining and enjoyable, it lacked the intriguing power of their studio album, "St. Elsewhere," mainly due to poor sound mixing and a rushed set.
It's hard to classify Gnarls Barkley into any one sub-genre of modern pop music. It's not quite straight hip-hop, not quite straight rock. It toys with the sounds of indie and 60s psychedelic rock while also blending in modern soul, R&B, Motown and funk melodies and rhythms. Bottom line is during a time where rap and hip-hop groups can often be a dime a dozen, Gnarls Barkley proves that its cool for art to imitate art by treading the waters of a number of different musical soundscapes.
The show was a mix of tracks from "St. Elsewhere" combined with a handful of obscure covers of bands as random as The Doors to indie alt-crooners, The Violent Femmes. Highlights from the set included the obvious opus, "Crazy," which featured an interesting but short intro by the groups string section, The G-Strings, and the gospel anthem, "Just a Thought."
Then there was the stage presence, an aspect of Gnarls Barkley that received just as much attention this summer as their chart rising single. Dressed in pajama suits and slippers the 13-piece ensemble took the blue-lit stage to a roaring crowd. Cee-Lo, who must enjoy hearing himself speak, was very animate throughout the night, dancing, shouting, enticing the audience and at one point falling over on stage–an accident that was no doubt a result of extreme energy and joy.
Danger Mouse, who is without a doubt the mastermind behind the music side of Gnarls Barkley, was somberly perched over a slew of antique keyboards and soundboards through most of the set, looking up every once and a while to enjoy a sip of bottled beer.
Gnarls Barkley is definitely one of those modern acts to keep an eye on. Cee-Lo, like fellow singer Sleepy Brown has for so long been just a hook vocalist for bigger acts like Outkast or Goodie Mob, however, through Barkley he is able to truly shine and is one hell of a talented singer. With a slightly revamped stage set up, mastered sound mixing and a longer and possibly more accessible set, Gnarls Barkley could very well move away from simply being a studio group and join the ranks of groups like The Roots who continue to toy with the different sounds and musical influences.
Archive Film Review:
A Scanner Darkly-R
Starring: Keanu Reeves, Robert Downey Jr., Rory Cochrane
Directed by: Richard Linklater
Drug Addiction, Darkly
(This review was published in the Indiana Daily Student July 13, 2006)
Science fiction author Philip K. Dick once said that, "Drug misuse is not a disease, it is a decision, like the decision to step out in front of a moving car. You would call that not a disease but an error of judgment."
The author, best known for his sci-fi short stories of the 60s and 70s, wrote his novel, "A Scanner Darkly," as an allegory for the troubling epidemic of drug abuse that was plaguing not only those around him, but also himself (he was a speed junkie) during the early '70s. The story is science fiction, relying heavily on futuristic technological advancements, but only on its surface. Richard Linklater's "A Scanner Darkly" marks the eighth film adaptation of a Dick story and is on par with previous successful films such as "Blade Runner" and "Minority Report."
"A Scanner Darkly" is set seven years in the future in Southern California. Keanu Reeves (playing, well, the best Keanu Reeves he can) stars as Bob Arctor, a police officer who goes deep undercover to infiltrate a growing underground drug cartel of a new radically powerful hallucinatory drug called Substance D. The trouble is Arctor is so far involved that his mind starts to play tricks on him and he begins to question his true identity. On the one hand he is Arctor, the normal guy who spends his days getting high with his friends and constructing mind puzzles that tread the waters of paranoia. On the other hand he is a police officer who goes by the code name Fred. As the plot thickens Arctor begins to unfold the intricate inner workings of the cartel while also coming to grips with his shattered mental state.
"A Scanner Darkly" is complicated and plays tricks on the audience much like the mind-bending drugs play tricks on the main characters. Reeves is decent as Arctor, however, the true shining performances come from Robert Downey Jr. ("Chaplin"), Woody Harrelson ("Natural Born Killers") and the horribly underappreciated Rory Cochrane ("Dazed and Confused's" Slater) who all play Arctor's Substance D fiend friends. Some of the best scenes of the film occur around Arctor's run-down Cali bungalow where the friends get high, ponder meaningless notions about the current state of the world they live in and create elaborate, paranoia fueled puzzles and conspiracy theories.
Director/screenwriter Richard Linklater delivers a wonderfully written script and the film's unique style of rotoscoping visual animation (a technique that Linklater helped create with his film "Waking Life") never distracts the viewer and is a perfect counterpart to the Dick's often-surreal story.
"A Scanner Darkly" deals with drug abuse and addiction in the same vein as David Cronenberg's film adaptation of William S. Burroughs' "Naked Lunch," using bits of comedy and surrealism to show the chaotic nature of mind altering drugs. The film is often very funny and visually the equivalent of eye candy, however, there is an underlying level of depressing realization that Substance D or any drug for that matter can truly have devastating effects on the human psyche.
Film Review: The Three Burials of Melquiades Estrada-R
Starring: Tommy Lee Jones, Barry Pepper, Julio Cedillo
Directed by: Tommy Lee Jones
As Melquiades Lays Dying
One of William Faulkner's best books, "As I Lay Dying," tells the story of a family who go on a mission to bury their recently deceased mother in her hometown. The family embarks on a hard and treacherous journey through America's deep South carrying their mother's decaying body. Along the way they hit a number of snags, meet some interesting characters and face numerous conflicts among each other. The book was riddled with the darkest of dark humor but at the same time was an honest and moving look at simple people who just want to please their mother's final wishes. Tommy Lee Jones directorial debut film, "The Three Burials of Melquiades Estrada," is in no way an adaptation of Faulkner but would have made the brilliant American author proud nevertheless.
Melquiades Estrada (Julio Cedillo) is a Mexican cowboy who crosses the border illegally in search of work. He is befriended by Pete Perkins (Tommy Lee Jones), a soft-spoken, somber cowboy who sees Estrada not as a "border hopper" or "wetback," as local police officers and border patrolmen call them, but as just another caballero working in the beautiful southwest. After an unfortunate accident involving a smug and careless border patrolmen from Ohio, Mike Norton (Barry Pepper), Estrada is shot and killed.
Fueled by a promise made to Estrada to bury his body in his small Mexican hometown, Perkins kidnaps Norton and takes him on a slow and arduous horseback journey across the border with Estrada's decaying body riding with them.
"Estrada" is a film that is all about journeys. On the surface it is about the physical journey that Norton and Perkins undergo, navigating through the rough and unforgiving Mexican desert, however, the story is truly about the emotional journeys they take inside.
Norton is on a personal journey of accepting and understanding life in the Southwest and Mexico while Perkins' journey is gaining an understanding of his duties to his dear friend.
"Estrada" was written by Guillermo Arriaga, a rising name in world cinema whose previous films "Amores Perros" and "21 Grams" both shared the same non-linear editing format that "Estrada" does. The film is wonderfully shot and directed proving that like so many other successful actor turned directors of the past (Clint Eastwood comes to mind) Jones has a promising career ahead of him.
Watching "Estrada" one can't help but draw comparisons to authors like Faulkner and the more modern Cormac McCarthy or filmmakers like Sergio Leone and Sam Peckinpah. However, the film is unique in the fact that Lee manages to put his own personal touches in it. The film has its share of dark humor and melodramatic scenes, but above all it revels in themes of pure humanity and friendship at their finest.
Archive Album Review:
Katy Lied (1975)
The Ambassadors of Musical Perfection
(The following review was published in the Indiana Daily Student August 3, 2006)
During their zenith Steely Dan was a pioneer of highly polished and perfected music that somehow managed to dodge one specific genre. While some might liken the unique group to fellow rock bands like The Doobie Brothers or Chicago, Steely Dan stands out as innovators of a sound and style that can only be described by listening to its music. It's not quite rock, not quite jazz. It's riddled with subtle laid-back R&B and soul flavors, but only below the surface. Dan is poppy when it wants to be but gives straight pop a twist. Above all, the band has always relied on the best musicians around to create the slickest of the slick.
Katy Lied, Steely Dan's fourth studio album, followed the highly notable and successful Pretzel Logic and is important as being the first album recorded after the band's major decision in 1974 to stop touring and focus solely on studio sessions (a decision that cofounders Donald Fagen and Walter Becker would maintain up until the '90s). The result is an album that is not only nearly flawless but dabbles in a slew of diverse styles and utilizes an eclectic group of talented studio musicians including the crooning soul vocals of future Doobie Brothers member Michael McDonald.
Songs like the funky melodic rock anthem "Bad Sneakers" or the mock jazz ballad "Your Gold Teeth II" feature tightly composed guitar solos, lounge style piano riffs, lyrics that don't insult our intelligence and an overall feeling of precision that shows a devotion to the music that is often absent from bands in the studio.
Katy Lied may not be Dan's best album to date since the band has a rich cannon behind them but it is important, as it served as a vehicle for future studio focused endeavors. The album is easily accessible--clocking in just above 30 minutes. The collection of songs are all catchy but also force the listener to appreciate the sound much like a great jazz player, and for anyone who says that the music sounds dated, corny or overworked…Well, only a fool would say that.
Archive Album Review:
Red Clay (1970)
The Birth of Funk, Soul, Cool
(The following review was published in the Indiana Daily Student April 27, 2006)
In the world of jazz there are the major players -- cats like Miles, Coltrane, Monk, Mingus, Bird, Gillespie -- then there are the musicians who, although were equally as talented and important to the music, did not gain the same colossal level of popularity as the bigger names. Trumpet legend and Indianapolis native Freddie Hubbard is one of these artists.
While Hubbard had a strong early career as a backup player for bebop artists like Art Blakey and Sonny Rollins some of his most brilliant and often overlooked recordings came during the 1970s funk/fusion exploration era with collaborations with pianist Herbie Hancock, guitarist George Benson and bassist Ron Carter.
Hubbard's Red Clay was released a year after Miles Davis's monumental crossover into fusion territory Bitches Brew and four years before Hancock's hugely popular funk odyssey Headhunters. The album, while more straight jazz than the avant-garde sounds of Brew, might be one of the first escapades into the fusion of soul, funk and R&B, with conventional jazz sounds.
Hubbard blends his fiery trumpet licks with the cool mellow grooves of Hancock's legendary Fender Rhodes (an instrument that has since been forgotten) and Joe Henderson's dark yet slick tenor saxophone accompaniments. The players are at the top of the game and the songs have the kind of crisp delivery that resonates long after the opening chords are played.
The smooth grooving title track is one part Hancock's "Chameleon," one part Brew with a little Issac Hayes' Shaft! soul flavor thrown in to the equation. The 12 minute cut features a driving melodic funk beat, crisp drum chops by Lenny White and scorching trumpet solos by Hubbard.
Red Clay is not Hubbard's most recognizable album and might not be his finest in terms of musical chops, however, for jazz enthusiasts or those just jumping into the genre, the album acts as a wonderfully accessible collection of '70s funk/jazz music that truly embodies the jazzism, "the birth of cool."
Starring: Silvia Pinal, Fernando Rey
Directed By: Luis Buñuel
A Surrealist Atheist In A Spanish Fascist's Court
(The following review was published June 8, 2006 in the Indiana Daily Student)
Spanish film director Luis Buñuel used to say, "thank God I'm an atheist." The highly outspoken, anti-fascist filmmaker is best known in the world of cinema for his early collaborations with Salvador Dalí and surrealist films such as "Un Chien Analou" and "The Golden Age." While these two crowning achievements garnered him international praise and jumpstarted his long and prosperous career, Buñuel was also considered to be somewhat of a political menace.
"Viridiana" was shot in 1961 and was Buñuel's first film in Spain since his departure to France and later Mexico in 1939. Upon its release the film was not only banned in Spain (a ban that lasted till the '70s after the fall of Franco's regime) but it was also fully denounced by the Vatican for being inappropriate and blatantly anti-Catholic.
Viridiana (Silvia Pinal) is a young, beautiful woman on her way to becoming a nun and entering a life of religious piety, chastity and above all, a strict moral lifestyle. Her lonely uncle Don Jaime (Fernando Rey), who has just lost his wife, summons his niece to visit him before she makes her final vows and in turn he asks for her hand in marriage because of her striking resemblance to the said wife. Viridiana denies, Don Jaime drugs her in order to take care of his physical desires, then hangs himself and leaves his estate and wealth to Viridiana and his son Jorge, thus prolonging her path to sisterhood and creating tensions in the manor.
"Viridiana" is very much a film that deals with issues of lust, devotion, love, sin, civil humanity and, of course, religion. The film is a scathing look at both social politics in Spain and a departure from strict, sacred religious morals. Surrealistic images like a crucifix that doubles as a pocket knife or a scene where drunken vagabonds reenact the Last Supper, are examples of Buñuel's persistent desire to criticize and satirize the state of Spain during the Franco fascist regime.
The wonderful Criterion DVD release features a stunning transfer of the film, an interview with Mexican actress Silvia Pinal and author/Buñuel expert Richard Porton and an extensive booklet featuring an essay and interview with Buñuel. The most significant extra, however, is a fascinating mini documentary about Buñuel's career from a 1964 French television show, chronicling his early work and his cinematic styles.
Buñuel is to this day one of the most important filmmakers to come out of Spain and has no doubt influenced modern Spanish directors like Alejandro Amenábar or Pedro Almódovar, both who dabble in Buñuelesque dark humor and eroticism. "Viridiana" is an interesting vision that exposes the problems that Buñuel believed plagued Spain under fascism. It is shocking, funny and disturbing, but also has a certain level of humanity and questions morality, beliefs and basic human desires.
Monday, September 11, 2006
Hollywoodland (one of the worst titles ever)-R
Starring: Adrien Brody, Diane Lane, Bob Hoskins, Ben Affleck
Directed by: Allen Coulter
“Hollywoodland” is about the dark side of the Hollywood dream, you know, the Hollywood where nobody can be trusted. This is the Hollywood where crafty vixens manipulate their studly men, where powerful studio executives get away or could get away with murder and where even a noble actor simply trying to make it in the game gets caught up in the web of lies and deception. Yep, it’s fair to say “Hollywoodland” is out to show that the glitter and glamour of the silver screen was not always as charming as we were told.
At its core the film chronicles the short lived career of actor George Reeves (Ben Affleck) whose sudden death in 1959 to this day remains one of Hollywood’s most notorious unsolved cases. Reeves, best known for his role as Superman on the 50s television serial, was the splitting image of an actor who was made a star and thus lost all his credentials as an actor because of his popularity (insert ironic anecdote about star/former actor Ben Affleck here).
The film chronicles his move up the film industry hierarchy through the help of his older mistress Toni (a surprisingly good Diane Lane) the wife of a powerful film studio exec, Eddie Mannix (the always sinisterly delightful Bob Hoskins). At the beginning it is clear that Reeves is out to use Toni to fuel his aspirations to be the next Clark Gable. She buys him a house, introduces him to all the important people and continues to support his career. Eventually Reeves lands the part of Superman on a serial that he believes will only be a paycheck gig. The rest of course is Hollywood history.
“The Adventures of Superman” becomes a hit and Reeves suddenly reaches stardom but not the stardom he was out for. Flash forward a couple years, “Superman” has been cancelled but Reeves can’t seem to shake the tight wearing character and thus falls into a state of depression and deep self-loathing upon realization that his chances of truly making it in the industry are gone. Then one night at his home after a small party his goes upstairs to bed and is shot in the head by his personal WWII era pistol.
While at first the police deem the death suicide, a squirrelly private dick named Louis Simo (Adrien Brody) decides to further investigate rumors that murder was at play. He uncovers more about Reeves’ past, his powerful and dangerous friends and foes, devises a number of theories and also manages to do some soul searching of his own.
“Hollywoodland” is an interesting look at the not so pretty side of Hollywood. It sets out to explore one specific case but in turn attempts to shed light on the often-dangerous social politics that were behind the silver screen. The film’s ensemble of actors each capture their parts well but rarely do anything worthy of future acceptance speeches. Ben Affleck was surprisingly effective as Reeves; however, I imagine that playing a cocky actor with good lucks is not much of a stretch for Affleck.
With the upcoming release of Brian De Palma’s “Black Dahlia,” which also tackles another Hollywood murder, it’s clear that people are anxious to shed the golden age image of old school Hollywood. While “Hollywoodland” is interesting at times and is not a bad film by any means it fails to present us with any substantial meanings or messages to walk away with. Films like David Lynch’s “Mulholland Drive” or Curtis Hanson’s “L.A. Confidential” also set out to present the shady side of Hollywood but did so in manners that were both intriguing and left us with ideas to marinate on.
“Hollywoodland” is worth seeing for any George Reeves buffs out there (if such a hobby exists) or for anyone looking to be entertained with flashy old school Hollywood costumes and mannerisms. The film is insightful when it wants to be, has some historical importance but at the end of the reel is just a tad too stale to make any significant lasting impression. ~ B
Friday, September 8, 2006
The Best of the Best…Lists Bitches!!!
Okay, so I just applied to a film writing job that asked for a list of some of my favorite films/directors etc. Here is an extended list to marinate on. Of course a month from now these picks could change, however, I tried to pick films that I never grow tired of and that continue to blow me away.
Top Ten Films ever (no specific order)
1) Do The Right Thing-Spike Lee
2) Hable Con Ella (Talk To Her)- Pedro Almodóvar
3) The Deer Hunter- Michael Cimino
4) Short Cuts-Robert Altman
5) Tie Raging Bull/Taxi Driver-Martin Scorsese (both are brilliant pieces of cinema)
6) Mulholland Drive-David Lynch
7) For a Few Dollars More-Sergio Leone
8) Godfather Trilogy-Francis Ford Coppola
9) Stop Making Sense-Jonathan Demme
10) The Grand Illusion-Jean Renoir
10.5) Ran-Akira Kurosawa
Top Ten Favorite Directors (no specific order):
1) Martin Scorsese
2) Akira Kurosawa
3) David Lynch
4) Pedro Almodóvar
5) Jean Pierre Jeunet (yes even Alien Resurrection)
6) Quentin Tarantino
7) Wong Kar Wai
8) Stanley Kubrick
9) The Coen Brothers
10) Terrence Malick
Top Ten Films of 1950s
2) Rear Window-Alfred Hitchcock
3) Bridge on the River Kwai-David Lean
4) The 400 Blows-Francois Truffaut
5) The Killing-Kubrick
Top Five Films of 1960s
1) The Wild Bunch-Sam Peckinpah
2) Persona-Ingmar Bergman
3) Midnight Cowboy-John Schlesinger
4) The Hustler-Robert Rossen
5) The Man Without a Name Trilogy-Sergio Leone
Top Five films 1970s
1) Taxi Driver-Scorsese
2) The Deer Hunter-Cimino
3) Dog Day Afternoon-Sidney Lumet
4) Godfather 1&2-Coppola
5) Amarcord-Federico Fellini
Top Five Films 1980s
1) Raging Bull
2) Do the Right Thing
3) Fanny and Alexander-Ingmar Bergman
4) The Princess Bride-Rob Reiner (because I never grow tired of it)
5) Suspiria-Dario Argento (definitely one of the scariest movies ever)
Top Five Films of 1990s
1) Pulp Fiction-Tarantino
1.5) Todo Sobre Mi Madre (All about my mother)-Pedro Almodóvar
2) The Thin Red Line-Terrence Malick
3) The Insider-Michael Mann
4) Fargo-Coen Brothers
5) The City of Lost Children- Marc Caro/Jean Pierre Jeunet
TOP Five Manliest Films of All Time!
1) Mad Max: The Road Warrior-George Miller
2) The Good, The Bad and The Ugly-Sergio Leone
3) Enter the Dragon-Robert Clouse
4) Evil Dead 2:Dead By Dawn-Sam Raimi
5) Aliens-James Cameron
5.5) Dawn of the Dead-George Romero
Rambo 3-The one where Rambo single handedly takes on the entire Middle East
Anything with the actors Dolph Lundgren, Lance Henricksen, and that little dude who played Willow.
Wednesday, September 6, 2006
A Futuristic Sound and Vision
David Bowie has always been somewhat of a chameleon in the rock and roll arena. He single-handedly jumpstarted the glam rock scene of the 1970's, paving the roads for other artists like Mott the Hoople, Iggy Pop and T-Rex, to name a few--and since then has moved from genre to genre, style to style with the comfort and ease of an artist determined to challenge himself and the world of music.
Low was the first of three albums known as the Berlin Trilogy (the others being 1977s Heroes and 1979s Lodger) that Bowie recorded in Berlin with ex-Roxy Music member/ambient soundscape connoisseur Brian Eno.
Following his brilliant but short 1976 album Station to Station, an album that was in many ways a spawn of his growing addiction to cocaine, Bowie moved to Cold War-riddled Germany to work and tour with friend Iggy Pop. The result of his time there was a trio of albums that, while stepping away from the more mainstream and conventional David Bowie, remain some of the artists finest to date.
With Low Bowie strays away from the pop-friendly songs of previous successes such as 1975s Young Americans or the unprecedented and most well-known The Rise and Fall of Ziggy Stardust. The album is harshly divided between futuristic, avant-garde synth rock tracks that are reminiscent of early German techno/Kraut Rock groups such as Neu! or Kraftwerk, and dense, often completely instrumental compositions that reflect Eno's prior ambient records such as Another Green World.
The first half of Low features Bowie experimenting with the radio friendly rock of his past. Tracks like the album's one surprising pop hit "Sound and Vision" or the cool, stripped down jazz/rock cut "Always Crashing in the Same Car" are catchy but at the same time require an avid listener due to bizarre vocal distortion and unusual instrumentation.
Lyrics fade on the radically different second half, which relies on five heavy, often depressing yet curiously beautiful instrumental compositions that include the doleful epic "Warszawa" (which may be Bowie's symphonic opus about Poland's anguish plagued capital) and the mysterious and lethargic, but utterly breathtaking closer "Subterraneans."
While Low is without a doubt the most inaccessible and challenging album of the Berlin Trilogy and possibly out of Bowie's entire catalogue, it still stands at the meridian of this versatile artist's musical gamut. It paved the way for Bowie's future reptilian style shifts, influenced artists like Trent Reznor who claims Low was partially responsible for his Downward Spiral album and to this day remains one of the finest ventures into experimental rock out there.
Tuesday, September 5, 2006
Why Flavor Flav is allowing the terrorists to win…
This past weekend in Bloomington I was introduced to the absurdity of VH1’s newest, “Here, you Americans have nothing better to do so watch this” Reality TV show “Flavor of Love 2” (yes the show actually has a predecessor. Apparently Flav didn’t find love the first time around). The show revolves around Flavor Flav, that small and highly frazzled rapper from Public Enemy who dresses in large pants and clocks. Apparently he is in search of love, although one could argue that he is merely out for attention and a big fat VH1 paycheck (I mean giant clock necklaces don’t come cheap my friends). Flavor of Love may be one of the trashiest shows I’ve ever seen. It’s the kind of show that makes me ashamed to be an American. In one single episode (and mind you I walked in on the show more than halfway through its hour run) a handful of stupid attention whores were ridiculed, judged on their looks and attitudes by rap group/recent Oscar winners 36 Mafia, groped by Mr. Flav whose use of the English language could be summed up as dismal and ultimately pinned against each other in some elaborate cat fight for said rappers amusement. Oh and did I mention the said females were appointed names like Choclate, Deelishis, Beautiful (the only name spelled correctly), Buckwild, Krazy, Toasteee, Payshintz (whatever the hell that means) and my personal favorite, Nibblz.
So the girls compete in mindless activities for attention and the chance to “date” Flav. Flavor Flav is a pioneer in the rap world having helped launch Public Enemy, however, music should be his forte, not relishing in his own stupidity on TV.
“Flavor of Love” was produced by a production company called Mindless Entertainment, which comes as no surprise. The show is the epitome of mindless entertainment, however, watching a Bull Dog lick himself could also fall under this level of visual pleasure so you have to wonder what this says about this type of trash TV. While watching this show I was reminded by something comedian/actor David Cross said about fellow TV abomination, “The Simple Life.” Cross argues that when people say that terrorists hate our freedom, one can’t help but wonder if watching a show like “Flavor of Love” only fuels this notion. I mean let’s be honest, it’s easy to hate our freedom when watching a burned out rapper degrade women on national television is what we do with it. Prove me wrong if you think otherwise.
“Mr. Romantic, I’m Flavmantic. You know what I’m sayin’”~Flavor Flav
Posted by C.W.Sills at 1:02 PM
Friday, September 1, 2006
Modern Times (2006)
A Lively Spirit of Modern Times
Bob Dylan has had one hell of a career thus far. He helped merge together the folk and rock genres of the early 1960s, blended his gift for songwriting with his political and social opinions, explored various sounds and mediums–everything from straight folk to stripped down blues–and to this day has maintained his role as one of the most important music pioneers in American history. Modern Times is Dylan’s first album in five years concluding the alleged trilogy of records (the predecessors being 1997’s Time Out of Mind and 2001’s Love and Theft) that encompass Dylan’s shift towards blues-rock with a hint of bluegrass and folk. While the album continues the “millennium sound” of the past two releases, Modern Times is a refreshing listen all the way through combining a lot of trademark elements of Dylan’s past with fresh approaches.
The record opens with “Thunder on the Mountain,” a fast paced straight blues piece, which, appropriately enough, features a wonderfully thunderous guitar opening. The song features a politically charged Dylan crooning about love, lust, political and social chaos and a nice little shout out to R&B singer/songwriter Alicia Keys–“I was thinkin' 'bout Alicia Keys, couldn't keep from crying / When she was born in Hell's Kitchen, I was living down the line.”
“Spirit on the Water,” which is the best song on the disc and one of the best Dylan songs ever written, features a beautifully simple jazz guitar riff and lyrics that are oh so tender and sweet one has to wonder which muse out there had the power to possess Dylan to produce such a poetic love song. To top it off the track closes with a beautifully melodic harmonica solo that reminds us of his flair for the harp.
The album closes with the radically different “Ain’t Talkin,’” an epic dark folk ballad that is reminiscent of previous Dylan tracks such as “Love Sick” (Time out of Mind) or even warlorn songs like “Masters of War” (The Freewheelin’ Bob Dylan). With lyrics such as, “The sufferin' is unending / Every nook and cranny has its tears / I'm not playing, I'm not pretending / I'm not nursin' any superfluous fears” once can’t help but agree that Dylan is no longer talkin’ but rather is pleading with us for change or at the least, acceptance.
For those who are only familiar/comfortable with Dylan’s earlier work from the days of simple guitar and mic classics, Modern Times will come as a surprise. Dylan moved away from typecasts a long time ago and is spending his latter days exploring the different methods and styles that intrigues him. This shouldn’t discourage listeners from Modern Times since the album, and the recent trilogy as a whole, is proof that Dylan is as brilliant a musician and songwriter as ever and that like a fine wine he has aged well with the tides of time.
Thursday, August 31, 2006
THE BEST SHOW ON TELEVISION
Ok, here's where I praise one of the best shows on television, a show that everyone should go out and rent. This is from a column I wrote for the Indiana Daily Student earlier this month. While it's safe to say I'm a über dork when it comes to anything from HBO's canon, this show ("The Wire") is beyond stellar. Check it out!
It's All In The Game
By C. Warner Sills
What makes a good television show? Is it the powerful narratives, rich characters and twisty cliffhangers that keep us coming back for more? Or is it the ease and accessibility of television that we crave? Take a show like "The Simpsons" that requires mindless and casual watching instead of dedication? Whatever draws us to escape into a show on a weekly basis or throw down $50 for an entire season on DVD, television series, when done right, have the ability to take us to places that film often can't touch.
Now while I could probably sit down and pour out a list of great shows of the past and present, I am writing to praise one particular program that you are most likely unaware of or haven't yet given a shot. Why devote an entire column to one show you ask? Because television just doesn't get any better than this.
HBO's intricate puzzle, "The Wire," first premiered in 2002 to stellar reviews but fairly mediocre ratings. Following in the footsteps of the unsurpassed network's other hits -- "The Sopranos," "Six Feet Under" and "Sex in the City" -- creator/ex-Baltimore Sun reporter David Simon and his crew of diligent writers set out to take on the police drama genre. The result was a show that took an honest look at crime, government corruption, police politics and the world of drugs in one of America's hardest cities. Above all it managed to give us some of the most riveting characters to ever join the history of television.
The world of "The Wire" tackles the streets of Baltimore, a city that has had its share of fame in the entertainment world (previous cop drama and past Simon endeavor "Homicide: Life on the Streets" also chronicled the city's crime ridden milieu). While the Eastern shore city has always been the focus of the show, the themes and issues dealt with in the series are prevalent to any place plagued by the war on drugs.
The beauty of the show is that it covers all grounds of the city's drug epidemic. Sure it's a cop show, dealing with the inner workings of the various city police departments and special units, but just like in real life, this element of the battle is only a piece of the bigger picture. Instead of focusing solely on the actions of a couple rogue cops as they uncover weekly cases (a simple but tedious formula that has worked wonders for shows like "CSI" or the horde of prosaic "Law & Order" shows), "The Wire" chronicles everything from the source of the drugs to its corner dealings. It explores the corruption on the streets to the corruption in the court. From the solutions to the sheer despair, nothing is left unexamined.
The first season introduced us to the major characters and the inner-workings of the drug trafficking life (or "the game") on the streets of Baltimore, focusing almost exclusively on one Avon Barksdale and his crime syndicate. It showed the pressures of chain of command -- both on the streets and on the force -- and proved that police work is not as glamorous as it is often portrayed in the movies or on other shows.
Season two did a radical 180, focusing most of its attention on the corruption of city port unions and its ties to the trafficking of stolen goods, illegal immigrants used as sex slaves and (of course) drugs. The show devoted an entire season to the lives and stories of a group of low-key Polish longshoremen and turned it into ripe drama that at times felt like a Greek tragedy. How many shows out there do that and get away with it? The second season proved that not only had "The Wire" bested its predecessor, but it could also take the unglamorous and make it captivating. Of course, similarly to the first season, the ratings were minimal and the show was ignored from awards like the Emmy's, despite stellar acting performances and flawless writing.
Season three, released on DVD in preparation for the season four premiere Sept. 10, moved away from the ports and returned to the slums of Baltimore. "The Wire's" third act brought into play issues of family and loyalty and questioned the logistics of the war on drugs from both sides, with the cops testing new radical methods of decreasing crime and the dealer crews testing their hands at business-focused peace accords. Again, the characters were all portrayed with breathtaking realism and honesty and the writing couldn't have been better (for you pulp novel buffs out there this season welcomed crime novelist Richard Price [Clockers] to its impressive canon).
"The Wire" is not an easy show to watch. It requires a great deal of patience and devotion and asks a lot more out of its viewer than your average drama. Like a great novel, you cannot just pick it up at any time and a complete knowledge of the show's history is a must. Like great literature, however, the end results will leave you heavily rewarded and in a state of awe. It's simply that good.
For anyone tired of the same high body counts and stale characters of prime-time cop shows or for those who already respect HBO's impressive repertoire, watch this show. You will not be disappointed: After the first fix, the television fiend in you will no doubt keep coming back for more. You'll be addicted to the drug drama.