Music

All City Affairs: Bees

If justice exists, All City Affairs' multi-genre mash-ups will be the sleeper hit of 2006.


All City Affairs

Bees

Label: Lujo
US Release Date: 2006-09-12
UK Release Date: Available as import
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Almost exactly one year ago in an interview with Peter Andreadis, I gushed and raved over Bees, an album recorded under his project moniker All City Affairs. One of the year’s very best, I swore up and down. The problem however, was that it hadn’t been widely released, making me a fool! A fool, I say! But Bees is finally seeing the light of day, and I’m happy to report that all prior hyperbolic statements are as true today as they were then. Bees is an eclectic but coherent set of songs, belying heavy fixations on funk, reggae, rock, electronica, and jazz, with an emphasis on solid craftsmanship and songwriting. From cover to content there is no false advertising. The colorfully illustrated artwork depicts mail and cargo trucks headed for collision, a flower selling pushing his wares down the sidewalk in a wheelbarrow, and a bellhop watching a taxi careen down the street: truly all city affairs. And despite the loopy, danceable exteriors of Andreadis’s compositions, the songs explore the mundane details of life one doesn’t normally expect to hear in pop music.

The protagonist in “Man of Modern Times” declares the album’s thesis with, “I dream of living lightly/ But I can’t make up my mind,” echoing the sentiments of young city-dwellers everywhere, surrounded by unlimited choices in art and commerce. “Today I’m going to do my part/ To be a productive member of society”, he declares, which ends up meaning, “Get my haircut at the salon/ Cough up 20 dollars for a shampoo.” It sounds like a joke, especially as synths bleep and bloop in the background, but it’s not, or at least not quite. Neither is it a strict indictment of “what’s wrong with the world.” All City Affairs’ songs fall somewhere between comedy and commentary. And by singing and writing without self-righteousness or self-pity, Andreadis sidesteps the usual pitfalls that have collected so many others trying to make sense out of this crazy, crazy world. “I changed my shoes from Nikes/ Cause they exploit child labor and I’m not down with it/ No more red meat with my meals/ Cause my daddy’s daddy died of an exploding heart”, he sings, but accompanying harmonized falsetto “oohs” and “aahs” pull the rug out from under any accidental moralizing. The song, apart from being fun and catchy, is about how one individual chooses to spend their time and money. By using specifics (getting regular test results for syphilis, working out at the gym), the song exposes just how many such choices we’re confronted with every day.

“Fake Soul Singer” also examines the phenomenon of overwhelming choice, this time through the endless stream of rancid popular music saturating all media. The song blames the fake soul singer of the title, hippie chicks, and “fake hillbillies... playing the part of hipster hicks” for “making the whole world sick". It’s more accusatory than “Man of Modern Times”, but no less charming for its humor. Andreadis’ doesn’t condemn style or production values, but rather the insincerity of a watered-down music market, with its suburban gangstas and reality-show suck-ups. “Fake Soul Singer” itself rides a reggae beat peppered with electronic gurgles and squawks, mashing up a variety of sounds to support Andreadis’s clean, direct delivery. A part-time DJ, and full-time drummer for Chicago trio Baby Teeth, Andreadis delights in drawing from a wide range of genres and textures, from the horn driven “Grease Up the Rod” to the doo-wop flavors of “Fuss and Fight” to the crazy drum fills on the instrumental title track.

So it’s appropriate that “How to Sell a Product” breaks a music lover’s heart with its clear-eyed view of advertising strategy, “Some torch song will shine the light/ On everything you’ve felt in your life/ And on some drunken night you will identify with someone’s CD/ This is how you sell your product to me.” The exploitation of desire is definitely this bee’s stinger, but it’s also an admittedly attractive flower. “Come on and join the club/ And be one of those people that you’d love to be,” Andreadis sings on the bridge, echoing Darth Vader, “Hey now child/ Don’t be scared /It’s your destiny.” We’re all disgusted by excess, but selling out also has undeniable appeal, if for no other reason than its promises of care- and worry-free indulgence. Materialism is the Dark Side for All City Affairs, and in all city affairs, and it’s these depths that Bees plumbs with great mischief and melody. “How can I avoid becoming another asshole/ With some truly unwanted comment about the kind of car that I drive?”, he croons, and even the best of us can sympathize.

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If The Prince of Nothingwood will popularly be remembered for celebrating the creative spirit of its star Salim Shaheen, it is equally an important communication on Afghanistan, it's culture and its people.

"Now I am just more tired and poor. So no, I haven't changed. I'm just older and more tired," says French radio journalist and documentarian Sonia Kronlund, as she looks back on the experience of making The Prince of Nothingwood (2017).

Joining Salim Shaheen, the most popular and prolific actor-director-producer in Afghanistan on his 111th no budget feature, Kronlund documents the week-long shoot and the events surrounding it. She crafts an insight into a larger than life persona, yet amidst the comedy and theatricality of Shaheen and his troupe of collaborators, she uncovers the heavier tones of the everyday reality of war and patriarchal oppression. If The Prince of Nothingwood will popularly be remembered for celebrating the creative spirit of its star, it is equally an important communication on Afghanistan, it's culture and its people. Alongside the awareness of the country cultivated by mainstream media news outlets, Kronlund's film offers an insight into a country that can humanise the prejudice and xenophobic tendencies of a western perspective towards Afghanistan.

In October of this year at the UK premiere at the BFI London Film Festival, Kronlund spoke with PopMatters about being driven by questions rather than inspiration. She also reflected on the subjective nature of documentary filmmaking, the necessary artistic compromises of filming in Afghanistan, and feeling a satisfaction with imperfections.

Why filmmaking as a means of expression? Was there an inspirational or defining moment?

Not really, no. I have always done documentary. I used to write scripts and TV series but I only make documentaries myself for radio and television. For this story, I figured out after a while that it deserved a bigger ambition and a bigger screen and that's why I don't very much believe in inspiration. To be honest, I made this film because I had to do something. I didn't have a big project where I thought: I want to make this. I went there and I found a little money and at the end the ambition and the inspiration came along the way. But there was not an urgent necessity to make this film. It fits with a lot of things that I'm interested in, like popular culture -- What does art stand for and why do we go to the cinema? What is the purpose? This is a question I'm interested in, but inspiration, not so much.

Has The Prince of Nothingwood provided you with the answers to those questions?

It has, and I hope it helps people to think about this question. It tells you that there is an urgent need to make images, to make films, even during war,and even if you don't have the money. And even if the films are not very good, they will find somebody who will like them. So something is going to happen, and I think that's very touching. I don't like Shaheen's films, I hardly watched them -- I paid somebody to watch them. But I'm very moved by all these people that do like his films, and it makes you think about the value of art and the purpose of why we make cinema. I used to study aesthetics in London, so it was one of the questions I had and while the film is lighter than this, that's what was in mind.

The film uses Shaheen as a doorway, beginning as a story about one man which becomes a story about Afghanistan, its people and culture.

Yeah, but it's not so much about Afghanistan and it's not my purpose is to say things about the country. There's one guy like him in Iran who makes cowboy movies in the Iranian desert and there's also a guy like that in Tunisia. I mean you have this person with an urgent need to film whatever they have under their hand and since it's war, then it tells you something about the war. But it's not so much interested in him.

There was a lot of editing, 148 hours that you haven't seen [laughs]. Making a documentary is really telling a story and I don't have any idea of objectivity -- it is my point of view on Shaheen. Some people say to me that they would like to show his films, that they really want to see his films, and I say: "You don't see how much I have edited. I show you the very nice parts of his films." People think he's a great filmmaker and that's the story I wanted to tell -- but I could have told another story.

To my mind, objectivity is a human construct, a falsity that does not exist.

Except mathematics maybe, and sometimes physics.

The purist opinion of documentary as objective is therein built on a faulty premise. From the subjective choices of the filmmakers that bleed into the film to the subjectivity of the subjects, it's not purely objective. Hence, it calls into question the traditional dividing line of the objectivity of documentary and the subjectivity of narrative fiction.

Totally! It's the editing, and why you chose this guy, how you film it and what you show, or what you don't show. It's not only subjectivity, it's storytelling. Not many people ask me about this, they take it for granted that it's the real Shaheen. But I'm not lying, I'm not saying things that aren't true, but I am telling a story, a fictional story out of what I filmed. I took scenes that happened one day and I put them with another story that happened three months later and that's why we had seven months of editing with three editors. So it was a lot of work.

One of the striking aspects of the film are the light and comedic moments offset by a darker and heavier sensibility, which include moments when, for example, Shaheen talks about arranged marriages.

We made 70rough cuts and there was one version we tested and you couldn't believe you were in Afghanistan. People would say: "Oh this is too funny. You don't see Afghanistan, it's just a bunch of crazy guys." I then said: "Let's put in a little more darkness." You then have to strike a balance and to me, if it's not perfect, I'm happy.

Shooting the film in a dangerous and volatile part of the world, was the approach that once you had enough footage you then looked to shaping the film in the edit?

It's not when you feel you have enough, it's finding a balance between security and artistic concerns. That's it. You have a plan and you have an agenda. There are things you want to do, but it has to be balanced with security concerns. The real story I was going to tell about Shaheen I found in the editing room and in the end, I only kept five days of the shoot. The whole film takes place in Bamyan (Province), nothing in Kabul, although I had weeks and weeks of footage there that I had to take away.

There's a moment when Shaheen asks if you are scared, which sees him verbalise our silent recognition of your boldness and courage to bring this story to the screen.

It's very difficult and it's not like you are walking in the street and there's a bomb. This is not what's difficult. The difficulty is to cope with your fear and to have rules and to follow or to not follow those rules. There are many foreign people that never go out at all in Kabul -- it is forbidden. You have British diplomats who do not even drive their car from the airport to the embassy -- they will take an helicopter that costs £2,000 each way. Then you have foreign people who walk in the street without a scarf -- these girls get kidnapped.

In between these you have Shaheen, who is telling me all the time that I'm too scared, because it's a man's value to be brave and he's a brave guy, there's no question about that. He was in an attack two weeks ago. There was a bomb in a Shia Mosque and he helped to carry out the bodies. So there's no kidding about the fact that he's a brave guy and he has to be because he's been fighting to make his films. But you are in the middle of this and I'm not a brave person at all and I don't think being brave is a very important question. It is, but I'm not brave, I'm very scared and so in the middle of all of this stress it's enough just to manage to not go crazy, or to not drink too much [laughs].

Salim Shaheen and Sonia Kronlund (courtesy of Pyramide Films)

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