"Do we want to make murals that directly reflect the culture here, or do
we want to actually create the culture with the murals and the public
art?" - Max Collins Allentown: a frequented street among Buffalonians, whether it be for the little shops, the food or the cluster of bars. The street's reputation for being the art district of Buffalo strengthened after the Allen St. Street Art Collective transformed the walls into a living, breathing art exhibition. Streets of Art is a 25-minute film by local filmmaker, photographer and mover, Nathan Peracciny. Produced by Peracciny Media Co., sponsored by Friends of the Buffalo Story and in association with the ASSA, this film explores the concept of placemaking, the significance of street art, and gives introspect into artists and why they do what they do. The music of the film are original productions from local musician Anthony DiGesare and Mammoth Recording Studio. The film tells the story of ASSA Founder Mark Goldman, and features artists Ian De Beer, Julian Montague, Chow Monstro, Patrick Gallo, Septerhed (Los Angeles), Rust Belt Division, Max Collins, and Dave "Chino" Villorente (Brooklyn).
Chow Monstro
"'The work we do is not for the faint of heart,' meaning, it requires a lot of soul to be artistic, in any aspect, it requires a lot of soul to be passionate about what you do. It requires a lot of soul, and just time in your life to be good at what you do. And to work hard at it is taxing, it's taxing on the soul, it's taxing on your loved ones, it's not easy. So I think, to me personally, what I do is pretty serious. It looks like art and it's fun, but this is my life, this is my time here on earth, this is what I'm choosing to do with what limited amount of time I have." - Septerhed
Squeaky Wheel and Buffalo Media Resource is a non-profit organization which provides foundational resources for video artists and film makers in our area. Their annual fundraiser party, Peep Show, is a spectacle of art, sound, and music. Tonight at Dnipro Ukrainian Center on Genesee St., you can experience the provocative and sensational installations in a creepily festive atmosphere. This years theme is a hot mess! Yes. Dress-up like a hot mess and you can enter the costume contest for a chance to win tickets to Rhianna at FN Center. To get the feet moving around the big space of Dnipro, Squeaky has on tap some great local music acts. On the main stage will be electronic experimental rock band Cinnamon Aluminum, along with Buffalo Hip-Hop conglomerate KooLiE HiGH, and soulful punk dance band Mallwalkers. MJB Corporation and ABCDJ will be the DJs for the night. We’ve been informed that various installations include the use of music in live performance in congruency with other media. Specifically a video-based live noise decay performance by d011001110110111101100100m, a hand-painted 16mm film to a live soundtrack by Patrick Cain, and "In the Dark II," where Brooklyn-based artist Amanda Nicole Schmidt sings Saves the Day’s Through Being Cool entirely, a cappella, and as the title of the performance indicates, in the dark.
Be impressed by the mess tonight, and go exploring through exploitive exhibits--it will be a stupendous time. Tickets are $15 advanced and $20 at the door. The party goes from 8pm-1am with a VIP pre-party beginning at 6pm. For more information, go Squeaky Wheel’s event page HERE.
In past posts, I've frequently alluded to the fact that music possesses the ability to "name the unnameable and communicate the unknowable." For instance, when I'm struggling with life's greatest problems, I often find comfort and vindication in the sound of the keys upon a piano, or the strum of a guitar. Yet, being able to evoke such emotions within the human race can be a difficult and sometimes impervious task for composers to accomplish. This is especially true within movie scores, as musicians must compete with additional sources of visual and auditory stimulation. So while I've made it my mission to highlight the films that have toppled said threshold, I must admit that I've been a tad selfish in my selections. All of my choices have featured soundtracks with vocals, totally ignoring my love of EDM music and the synthesizers that accompany it. Therefore, my selection for this week's Music & Film series is none other than Tron: Legacy.
Composed entirely by Daft Punk, the Tron: Legacy soundtrack took nearly two years to complete, and features an impressive 85 piece electronic orchestra! Yet while many of their hits can be described as an 'electric powerhouse', the clip above shows off their talents in 'trip-hop' as well. The beat could not go any better with the scene at hand, as it accurately reflects the seductive synchrony of the Sirens. Plus, it includes one of the best one liners in the entire movie, as Sam asks "What am I supposed to do?" In response, one of the Sirens tells him "Survive," sending both a shiver up the spine and simultaneously illustrating the seriousness of the situation.
Packing a little more punch, "The Game Has Changed" features an attractive beat that deserves to be included on anyone's workout playlist. Having grown up on classic arcade games such as Pac-Man, Sonic the Hedgehog, and Battlestar Galactica, I couldn't help but feel but feel a little nostalgic as I watched Sam embark on his quest through this spectacular, futuristic world. It all seems so real, mainly due to the brilliance of the visuals and Daft Punk's golden composition. Plus, it's almost eerie how well the song matches up with the dynamics of the Light-Bike scene.
Although I was raised a peace-loving individual, I feel as though I have to take a karate class or get into a fight after watching this movie-music compilation. Each successful song intensifies the mood beyond my wildest expectation, and truly gets the blood flowing. Thus, while Tron: Legacy has it's stunning visuals and stellar accompaniment to rely on, Michael Sheen's performance as Castor/Zuse acts as the cherry on the top of a delicious sundae. His sporadic, yet flamboyant behavior can be classified as a true "scene stealer," is it represents one of the only times that the acting outshines the musical score. Yet don't let this deter you from seeing the movie, I promise you won't be disappointed.
Despite being entirely unrelated to the film, I simply had to include one of Daft Punk's classic jams "Around The World." Originally released in 1997, this song has managed to withstand the tests of time and provide a marvelous example for all other EDM artists to follow. Not to mention, this music video used to give me nightmares (I always thought the Frankenstein characters would catch up to the Synchronized Lady Swimmers on the stairs), and features a top Youtube comment of "Says three words...lyrics still better than Lil Wayne." Not too shabby for a song that's over fifteen years old!
This week, I'm wasting no time in introducing you to one of my favorite films of all time; Garden State. While the movie itself does a great job of portraying the ups and downs of mental illnesses and the drastic over-medicating of our society, I must admit that I was pleasantly surprised with it's musical accompaniment. As the director, Zach Braff worked tirelessly to handpick songs that directly corresponded to the scene at hand, and was righteously awarded a Grammy Award for Best Compilation Soundtrack Album for a Motion Picture, Television, or Other Visual Media for his efforts. But just in case that doesn't motivate you to see the movie, I'm going to breakdown some of the best movie/musical moments below. So if you don't have two hours to dedicate to watching this film, I'd probably refrain from reading the rest of this post, as it's sure as hell going to reel you in!
Although a relatively easy-going song, Zero 7's "In the Waiting Line" perfectly captures the conflicting nature that exists between Large and his surrounding environment. Thus, while he's taking medication for his 'disorder', Large struggles to find passion while caught in this dream-like state. This completely corresponds with the methodical, yet captivating music of the Zero 7's, as they will no doubt cast you into a delightful ambiance of synthesizers and downtempo jazz.
I've featured Simon & Garfunkel before, and for good reason. Not many other bands/duos have the chemistry and the ability to write such captivating lyrics so easily, and their song "The Only Living Boy in New York" seems to be made for this scene. There's just something about standing in the rain on the edge of the abyss that shout's EMPOWERING, LIBERATING, and INDEPENDENT. So just watch the scene, then you'll know what I'm talking about.
As for the ending scene, there simply aren't words to describe the brilliance and harmony of this moment. So, while Frou Frou's song "Let Go" is no doubt a foot tapper, it also holds a great philosophical meaning which urges us to seize all the life has to offer. Thus, while many others are too busy writing their own tragedy, we as human beings most learn to live more in the moment, and stop worrying about the scripts that society has laid out for us. Hopefully this will represent an empowering moment for you guys as well, as I truly believe that this world needs a little more individualism and spontaneity.
P.S. While I did not mention any other songs, I would definitely urge everyone to check out The Shins. They had a number of tunes in the film, and truly deserve any bit of attention they receive!
After thinking about this week’s post, I was a little weary
of selecting another movie along the lines of The Royal Tenenbaums. Therefore,
while I could easily write about the unique role that music plays within indie
films such as The Kids Are Alright and Garden State, I wanted to switch it up
and look at a more recent cinematic interpretation; Pitch Perfect. While the
movie itself reflects upon American pop culture and the debate between
individualism vs. conformity, I can’t help but applaud its ability to perfectly
mesh a wide variety of musical genres. As
a result, I’ve decided to dedicate this post to the underrated artists who have
finally achieved the national recognition they deserve.
Wild Belle
Wild Belle, a brother/sister duo hailing from Chi-Town, are
a relatively new fixture on the indie scene, as their first album will be
hitting shelves in early March.
Featuring a psychedelic reggae vibe, their single “Keep You” endorses an
island beat that makes it difficult not to jam along. Although the song speaks mostly to the
cyclical, yet toxic relationships endorsed by a number of immature youth, it
also emphasizes a sense of struggle and distress. This relates directly to the film, as Beca
(like most young aspiring musicians) faces a significant amount of backlash
from those who discourage musical non-conformity. Plus, it features a sick saxophone solo, so
who would want to miss out on that!
High Highs
At first glance, “Open Season” by the High Highs may seen
like your typical easy-listening tune.
Yet while the song itself features a set of simple lyrics, it’s ability
to capitalize upon both it’s lead vocalist and a wide array of musical
instruments set’s it apart from the rest of it’s class. Therefore, no matter how your day is going, I
can guarantee that this song will pick up your mood in no time, and place you
in a state of complete liberation.
The Naked and Famous
If you hold an appreciation for oxymoron’s and
contradictions, then you will no doubt fall in love with The Naked and Famous’ hit,
“Punching in a Dream”. Similar to other
songs within its genre, the eclectic mix of synthesizers, basses, and guitars
provides a tune that is eerily reminiscent to a clone of MGMT, Mat and Kim, and
Passion Pit. At this point in the movie,
Beca is arriving at college, despite her dream to move to LA and become a music
producer. While it might seem as though
she’s punching in her dream, and “breathing into her nightmare” (her
disinterest in college life), she eventually realizes that one can find beauty among the in-between. As a result, we
should make an effort to avoid judgment and learn to take something meaningful
from every moment in our lives.
The Fratelli’s
Usually people look for songs that help them work out, help
them pregame for a party, or even assist in the completion of their
homework. While I usually have songs
that can be relegated to each one of these tasks individually, The Fratelli’s
“Chelsea Dagger” truly takes on the meaning of being ‘multi-purpose’. That’s quite the accomplishment; especially
considering the band achieved moderate success before their split in the late
2000’s. Therefore, if you can learn to
appreciate anything in the music world, it’s the difficulty for a song to
withstand the tests of time.
While I understand this post is much different from my
first, I thought it was important to show that even mainstream films can hold
positive implications for the indie music scene. Although Pitch
Perfect is merely a quirky, comedic entity, it holds the power to reach a
number of audiences across the world, thus allowing various types of music to
be recognized and appreciated.
Therefore, while you may or may not agree with the movie, you cannot
argue with the chance it presents to the smaller members of the musical
community.
Victor Hugo once said, “music expresses that which cannot be
put into words and that which cannot remain silent.” As an avid listener of music, I couldn’t agree
more. Whether I’m feeling particularly
blissful or perhaps even a tad wistful, I always know I can seek comfort
amongst the treble clefs and time signatures of a far-away land. Simply put, music is my mistress. It’s one of the only entities that can evoke
such genuine emotions within me, with the exception of maybe one thing; movies.
While music is typically pleasing to the
ear, movies work to capture an entirely different sense; the perception of
imagery. Through activating different
areas of the brain, these two elements create a toxic, yet electrifying relationship,
which leads to the reason that I’m here.
As both a music and cinema buff, I feel it’s my duty to share with you
the movies that have perfected this skill, as it’s truly underappreciated by
the public at large. While many refuse
to acknowledge its existence within film, music has played an influential role
within several of the most emotional scenes in cinematic history. Whether it be Mufasa’s death in the Lion
King, Rudy’s inspirational sack, or the execution scene in The Green Mile,
music (lyrics or not) has raised the bar in exemplifying the true nature of a
theatrical script.
Thus, to begin our journey, I wanted to share with you a film
directed by Wes Anderson back in 2001, The
Royal Tenenbaums. Although
relatively unknown these days, the film made a very public splash at the turn
of the century due to an ongoing copyright battle between the director and
various musical artists. Yet while
movies only possess a limited amount of resources, Anderson made it his mission
to acquire nearly all of the songs on his wish, including this one performed by
a German folk-rock artist.
In hopes that some of you will go out and watch this movie,
I’m going to try my best to avoid any spoilers, but I just had to include this
scene. Gwyneth Paltrow’s arrival via the
Green Line Bus serves as a quintessential moment in the film, and coupled with
Nico’s deep, yet intimate vocal, you can’t help but be launched into a state of
pure nostalgia. As many of us know, there
is no greater feeling than being reunited with someone you love, as everything
else seems to melt away. Thus, the selection
of ‘These Days’ was perfect, as the vocals and instrumental combine to produce
a sense of intoxication, with just a dash of unrequited love thrown in.
After watching the scene above, I often find it difficult to
put to words what I’m feeling. It’s so
sobering; real; and certainly capitalizes on the brilliance of Elliot Smith’s
track. Despite the lack of vocalization
from Richie Tenenbaum, this attempted suicide not only conveys a sense of agony,
but a hopeless regret, and a futile surrender to love itself. His ability to search for a reason to live
has simply been lost amongst the haystack.
Thus, while suicide and depression remain a huge issue within our world,
I hope that this scene shows that there will always be someone out there that
would be crushed by the loss of your existence.
Finally, although I really encourage you to listen to the
entire soundtrack, we have a piece by one-half of the legendary duo, Simon
& Garfunkel. First off, I dare you
to get through this whole song without tapping your feet or swaying to the
beat. This song creates such an
adventurous and carefree environment, as it hopes to promote a sense of
spontaneity amongst its listeners, much like Gene Hackman and his grandkids
endorse in this scene. Plus, although I’ve never gone on a road trip,
I’d have to say that this track would be a pretty strong contender to kick off
the festivities, and that’s truly saying something!
That being said, I truly hope that some of you choose to
engage in the brilliance that is The
Royal Tenenbaums. While I am always
open to future suggestions for movies, I merely wish that you take a closer
look at this complex relationship that exists amongst music and film. Don’t be afraid to take a look at your
favorite movie scene, and earnestly examine how it makes you feel. Does it include music? What type of emotions does it evoke? While this may only lead to more questions,
there’s always the possibility that it will open the door to a better
understanding of yourself, or perhaps even the world around us.
It was a batty animated music video lasting almost seven minutes for “Paranoid Android” that made me go out and buy OK Computer. Still in high school, I thought the album was the best thing I had ever heard and played it to death before finding out from a classmate that it was actually the band’s third disc. From there I experienced The Bends—my all-time favorite rock album—and with that Radiohead cemented its place at the top of my musical world.
I made multiple trips to our local Media Play as the 90s completed in order to check the Imports section for however many CD singles I could to grow my library of the band’s extensive B-Sides collection. There were the great tracks “Maquiladora” and “Talk Show Host” exciting my ears fromThe Bends era and the enticing EP Airbag/How Am I Driving? collected an assortment ofOK Computer music that simply didn’t make the cut. Not to be outdone by its aural companion, however, the VHS entitled Meeting People is Easy also called my name and while I hoped it would contain a few of the group’s stellar music videos, what it did offer was even better.
A film by Grant Gee, this rockumentary is more art piece commentary on the struggles of a touring band at the height of fame than a look through concert footage and interviews. Nothing besides the footage making up the heavily played MTV video for single “Palo Alto” is shown to completion. Songs are played in pieces, broken up by others, or turned down so voices of an overlaid press obligation can be heard. Behind the scene video of photo shoots flash onscreen, newspaper and magazine clippings hailing Radiohead as the new powerhouse in rock scroll by, and the strobe lights of concerts along with shaky handheld movies flicker enough to make the cover’s disclaimer of “may adversely affect epilepsy sufferers” a reality.
Gee collages sight and sound in an intense assault to depict the two-headed beast the band was during their OK Computer tour of 1997-1998. Progressing chronologically from show #1 in Barcelona with beginning with a performance of “Airbag” through the likes of #52 in Paris, #82 in Tokyo, and #102 in New York City, we enter the hectic life of a rockstar to experience the glory and malaise. We listen to Colin Greenwood go through a litany of takes to record a radio station tag, “Hello, this is Colin from Radiohead and you are listening to …”; read the countless praise comparing the record to Darkside of the Moon and the songs’ epic quality to “Bohemian Rhapsody”; and watch asinine questions from the media punish the bandmates into a state of despair and utter boredom.
Completely objective, we become privy to vocalist Thom Yorke getting verbally assaulted on the streets of NY as well as voicing his complaints about the crew of “Late Show with David Letterman” before performing “Karma Police” on the show. We cultivate a sympathy for Colin and the strenuous schedule of press duties he does between shows—although he admits no one does more than they want—and hear the in-concert banter about how the band wishes their job allowed for a tour of whatever city they’re performing in. Unfortunately, Parlophone and EMI need them to toe the company line and make the appearances necessary to turn their album into the contemporary classic it has become. After watching their depleting enthusiasm as the film progresses, however, it’s easy to understand why they have since decided to distribute their music independently.
Amidst the barrage of camera flashes and scenes depicting the loneliness of being an alien in New York while Scott Walker‘s “On Your Own Again” plays come memorable moments defining who Radiohead is. Everywhere they turn is another media outlet looking for a story, yet the band never has any easy answers. We see Yorke walking around with Michael Stipe of R.E.M. in one shot and then shrugging off the fact celebrities attend their concerts as no big deal. Where a reporter merely wants some excitement that Tom Cruise and Lenny Kravitz are going to shows, Yorke only shares the fact that he never understood why the famous exist on a higher plane than the general public in America. In Britain, he says, there is always an inherent distrust. All success has either been achieved by cheating or proves the successful to be full of shit.
It’s not all soundbytes of Yorke proclaiming the Western World as loan sharks extorting the rest; We also get some great concert excerpts to temper tidbits like Jonny Greenwood‘s dislike of television interviews for making him appear an idiot or recording acceptance speeches in Japan for awards shows everywhere else: NME’s Best Album of 1997, Denmark’s Grammy for Best Foreign Album, etc. There is a performance of “Paranoid Android” in Paris that becomes broken in half by a stunning shot of “Creep” filmed from the street through the venue’s open doors and above a packed crowd. We hear rare songs like “Pearly” or “Follow Me Around” in sound check and while we’re tapping our fingers or remembering our own concert memories of the band we also begin to understand the amount of work it takes to be a rockstar.
Each member of Radiohead is given time in the film—so while I didn’t mention Ed O’Brienor Phil Selway, they are most definitely a part of Meeting People is Easy—and their acclaim is often juxtaposed with crticism. A group of televised SKY News reporters even go so far as to mock new single “No Surprises” as depressing and far from likable. They joke it is suicidal and laugh that it’s okay because “Yorke ends up drowning at the end” of its video depicting him in a scuba suit filling with water. But we must also accept with the band that yes, bad reviews always seem to make the most sense because universal praise is for saps.
One can never deny Yorke’s satisfaction in seeing 40,000 fans at show #10 in Glastonbury, though, or disbelieve when he says the tour was a letdown after the inhuman feeling of that moment. Footage shows fans in Philadelphia singing “Creep” and those at the front of the stage in Nagoya, Japan rocking out so we realize these Brits are never happier than when making and playing their music. They don’t care about the excess or the fame; they treat their job seriously and have been a huge success as a result. Like them or hate them—that’s something everyone can admire.
Squeaky Wheel is doing Buffalo a huge solid this Friday (February 24) when they screen Inni, a film by Vincent Morisset featuring Icelandic rock gods Sigur Ros. I didn't think Sigur Ros could top 2007's glorious Heima, which featured the band in a variety of configurations performing for their home country in a staggering variety of settings (indoors, outdoors, in an old quarry, in a dinning room, electric, acoustic, etc.), but they did with Inni. If Heima was hyper-real in it's presentation of Sigur Ros, Iceland, and it's people, Inni unfolds like a fantastic dream, it's heavily processed black and white images capturing the stripped down performance (no strings or brass bands) in it's purist terms through exceedingly bold compositions and expressionist use of light and darkness. In musical terms, Inni is Sigur Ros triumphantly wrapping up a chapter of their lives before moving onto to a new phase and sound that Sigur Ros fans are eagerly waiting for with a magnificent retrospective of their first six albums. In terms of sound and vision, Inni is more than a concert film, it's a pure cinematic experience, and one that you won't forget.
But don't take my word for it, check out the trailer:
And an utterly mesmeric clip of "Festival," from the film:
Inniscreens at Squeaky Wheel (712 Main Street) at 7 PM. Tickets are $5 for members, $7 for non members.
There is no better praise to heap on a short film than to admit you watched it again right after the initial viewing.Scenes from the Suburbsis just such a piece, not because of the connection to one of my favorite albums of 2010—Arcade Fire’sThe Suburbs—nor the fact it’s directed bySpike Jonze, but because it really hits upon the jaded cynicism of our current world. No longer do we live in an environment deemed safe. My childhood of leaving the house to walk the neighborhood, a simple “I’ll be home for dinner” all that’s necessary to assuage parental worry, is long gone. We now build fortresses in which to reside, cultivate paranoia towards anyone unknown, and reside in a social military state of consciousness.
The only escape from this world is to either live despite it, carefree and joyous in the face of oppressive forces, or to join in by descending into its hellish world of anger and violence. Jonze creates a dystopic, gated community much like the ones we drive by on the way to work every morning, but instead of just the sterile, closely cropped lawns and blank, fabricated smiles of automatons blindly waving hello, the suburban residence here holds a darker evil at its borders. Town militias defend borders on adjoining lands, malls in one are made unavailable to outsiders if a feud has begun, and literal wars ignite when ‘pollution’ threatens to harm another’s community. But as Arcade Fire band member and co-writer of the film Win Butler said in NME Magazine, the album on which the film is based “is neither a love letter to, nor an indictment of, the suburbs – it’s a letter from the suburbs.”
This Orwellian world created by Win, his brother Will, and Jonze is too familiar to be false—it is reality taken to an extreme. But in the middle of it all is a group of friends existing despite the chaos and fear surrounding them. Young Kyle (Sam Dillon) and his comrades take to the streets without worry, riding their bikes, shooting off BB-guns, and joking with the police. It’s as though they have it all figured out in the microcosm that is their friendship, a clique devoid of cell phones or the technology that threatens to turn our world into the warped, government controlled nightmares of classic literature. Their summers are a time to unwind with the unabashed freedom of youth, questions about when it’s right to kiss a girl or easy-going arm wrestling matches the norm.
But all of that must at some point come to an end. Through the pains of growing up and finding oneself, we oftentimes lose the ones we hold close. As Kyle speaks in voiceover at the start, this was the last summer they all had together and above the police state bottling them up inside are his memories of people he shared it with. A lot is a blur but pieces remain to create a slideshow, flickers through the black of time possessed of both the good and bad within a two months span that completely altered his fabric. To he and best friend Winter (Paul Pluymen), inseparable and forever in a state of glee, life appears bearable. Winter has Zoe (Zoe Graham) and Kyle has them both—three against the world, capable of anything. Except the world cannot be blocked forever, suburban sprawl’s necessity for protection, the evil manifested in its citizens through persecution and abuse too much to forget.
And so we experience glimpses of the breakdown—society punishing the free with fear and rules. The return of Winter’s brother Terrance (Justin Arnold), from jail or the military, only adds fuel to the fire burning within this boy, his need for a blood relationship conflicting with the bond foraged through years of happiness with Kyle. The pressures trap the boy in a tightening vice, shutting off his capacity to feel, leaving a shell-shocked vessel of steely ambivalence when both Kyle and Zoe attempt to find a way back in. It’s the pain of seeing the horrors around him, the lack of will to overcome the struggle, that turns him into a defeated soul beginning to philosophize everything around him as just a dream. He needs to wake up, to shake the filth of a jaded country no longer able to love. Winter becomes a casualty of suburbia as Kyle fights tooth and nail to survive—its claws of destruction unbiased and unforgiving.
This is the society in which we currently live. No more is it the trials of city living and poverty that must be overcome; the suburbs have become a place of stress, of entitlement, and abandonment—children being left to fend for themselves, impressionable minds defenseless to either become stronger despite everything or perish underneath. Shot with a dreamlike quality as kids soar through the streets, an extended music video for an album that defines a generation’s confusion in a world appearing hellbent on destroying itself, Jonze and company portray the emotions present on the cusp of boys becoming men through powerful vignettes, many drowned out by the lyrics of Arcade Fire. These are scenes of suburban life taken to the polar end of where we are heading, a society built to fight with civil wars consuming loved ones on opposite sides. When men are shot in the streets and children become victims of police brutality, everyone must choose a path for which to travel. In such a world we ultimately lose those closest and oftentimes lose ourselves.
The mid to late 90s introduced both The Dandy Warhols andThe Brian Jonestown Massacre—two buzzed bands touted to take the world by storm. Their pop culture reference-laden monikers united to form a two-headed rock and roll Renaissance beast of pure post-modern musicianship and set them onto the path towards fame and fortune. Well, that was the plan at least. Firm friends and colleagues with the utmost mutual respect, the passing years would see Courtney Taylor (now with a repeated last name hyphenate, Taylor-Taylor) take his Warhols to unimaginable heights while Anton Newcombe‘s genius only brought dissention, chaos, and destruction to the other. Whispered in the same breath as Lennon, Dylan, and other rock maestros, Newcombe’s inability to live with success will forever languish in the realm of wasted potential as his music awaits a future generation able to appreciate it sans the drug-addled hurricane depicted in Ondi Timoner‘s wonderful documentary Dig!
Narrated by Taylor, the Sundance Grand Jury Prize-winning film is meant to show the decade-long relationship of the two bands but ultimately depicts Newcombe’s volatility and his band’s implosion. The Warhols are of course a huge part of the work, but watching them rise above the trials and tribulations of jerked around by the industry buzz band to eventually sell out international festivals pales in comparison to the meteoric fall of a man with unquestioned talent. No matter how many times Anton disses his former co-revolutionaries in the fight for rock supremacy, the Warhols somehow always find a way to shower him with praise. Any dreams of reconciliation disappear early on but the respect Taylor, guitarist Peter Holmström, and keyboardist Zia McCabe have in Newcombe’s genius is unwavering. Unfortunately for him, though, the illicit drug use and short temper show the aptitude for greatness pales in comparison to the complete absence of humility.
Because of Taylor’s participation you do get the sense facts and opinions are skewed to his perceptions, but this isn’t necessarily a bad thing. The amount of raw footage used—whether concerts, backstage exchanges, or candid road scenes—allows Timoner to portray it all with as much context and objectivism as she wants despite his inclusion as resident expert. Taylor saw it all while performing double bills, touring with Jonestown in support, and genuinely basking in the glory of his proximity to Anton’s vision. Sure he regrets and perhaps resents his old friend’s moves later on, but the love of the music never fades. As is mentioned often, no matter how bad the rift got, no one in the Warhols would stop buying Anton’s records—they were too good. Rather than be a bitch-fest of who said what and feel sorry for me because he was mean, Taylor never lefts his subjectivity intrude on the story at hand.
He couldn’t have anyway when his authentic response the blatant jab at his band’s success of “Not If You Were the Last Dandy on Earth” was awe. Taylor played his newest single “Not If You Were the Last Junkie on Earth” for Anton and received no feedback until hearing the musical response/parody/slap-in-the-face the Jonestown leader would eventually passed out guerilla-style during a Warhols show in protest to their strong-arming him off the bill. We’re privy to the laughter and jokes made by the likes of Matt Hollywoodand Joel Gion at the Warhols’ expense and it’s all juxtaposed to their complete befuddlement at how depraved Jonestown had become. It’s two halves of a whole that could have changed the face of rock and roll together but instead devolved into an unwitting rivalry a la Oasis versus Blur. But if Taylor is to be believed, he never wanted there to be a competition or bad blood. Anton’s drive to be God made it impossible for any other outcome.
The fact these two were groomed to rule the world is odd in itself with their non-mainstream construction. The Brian Jonestown Massacre had three guitarists and a permanent tambourine (Gion)—this wasn’t the guitar, bass, drum model the 90s had been churning out. Neither was handed success as we learn the Warhol’s first submission to Capitol Records after signing was rejected for “not having any songs”. Taylor isn’t scared to express his feelings about this pejorative or his abhorrence of ‘diva photographer’ David LaChapelle‘s video for “Last Junkie on Earth”. They’re all diva twenty-somethings trying to earn a living playing music. Whether Anton or Courtney, their main goal is to get the art out and hope it finds ears willing to listen. Maybe the Warhols were lucky and Jonestown was not or maybe the public wasn’t ready for the latter as they lapped up the former. Maybe a lot of success does come from being able to ‘play the game’.
I’m sure the Warhols had their fair share of hard times internally too, but the highlight ofDig! is most assuredly the inevitable blow-outs on behalf of The Brian Jonestown Massacre. From their infamous Viper Room gig for industry representatives to listen, love, and fight a bidding war to possess to the final tour resulting in Peter Hayes‘ departure into Black Rebel Motorcycle Club and Hollywood’s inability to take Anton’s abuse anymore, fans went to their shows to see who would be knocked out or walk off stage. Brawls, riots, arrest, screaming fits, and more occurred ad nauseum yet the upside to Newcombe always prevailed to keep the music coming. One moment we watch Hollywood openly bash Anton and the next the band is playing a ten-hour set to ten people. Their eventual label TVT ends up paying for a full studio only to receive a heroin-addicted musician unable to write coherently in return as his ego finally proves too destructive.
Courtney Taylor’s declaration that Indie Rock was spawned from the cautionary tale of these two bands is understood quickly and does prove to be the main crux of this document. The humor of Gion’s seemingly bottomless pit of buffoonery entertains; insane incidents like Anton kicking an unruly fan in the head or constantly berating Hollywood shock; and the apples to oranges rise and fall showing Jonestown arrested in Georgia for marijuana possession and the Warhols discovering astronomical fame in Europe baffle in its portrayal of pop culture’s fickle tastes. But at the end of the day the most important lesson learned is how the music industry operates with a ninety percent failure rate. For every Dandy Warhols—who are as great as Anton believed upon first listen—there are a litany of Brian Jonestown Massacres flittering potential away. Another example showing unappreciated genius in contemporary time, Dig! will entertain, educate, and frighten in its peerlessly candid depiction of rock and roll.
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