Film

Critical Confessions: Part 10 - Noise Annoys

Someone in marketing must have thought it was a good idea. After all, it was a concept that went together with the theme and main character of the movie quite well. Better than a t-shirt (which was also offered) or a keychain (huh???), a pair of drum sticks symbolized ex-80's hair band musician Robert "Fish" Fishman's main motivation. All he ever knew was the skins, and when he lost his shot at rock and roll immortality, he lost everything…except his kit. So at a recent screening of the upcoming comedy starring Rainn Wilson, The Rocker, a local TV station gave away dozens of drum sticks, a token of their preview appreciation.

After the initial novelty of holding two pieces of wood in one's hands started to wear off, the smallish audience was starting to get antsy - and as a result, inventive. A few took their recently received "instruments" and did a little air drumming. Others batted the balsa together, pretending to countdown the next imaginary arena anthem. Before long, the theater was filled with a cacophony of lumber lameness, patrons trying to keep the imaginary beat on the back of seats or their own legs…with minimal success. As the time for the movie to start grew near, most in the critic's row assumed that the rat-a-tat-tatting would stop. After all, the inherent charms of the storyline should stifle such nervous energy, right?

Well, not exactly. Within the first ten minutes of the slightly subpar comedy (nice, but bloated with every musical cliché in the lexicon), the first nods to Neil Peart could be heard from way in the back. Before long, wannabe Bonham's were tapping along to the concert sequences. When there was no reason to rap, the sticks still struck anything within range, the hallow noise adding an unnecessary drone to what was already a trying entertainment experience. By the end of the screening, the combination of novice Charlie Watts and the standard in theater din turned The Rocker into something akin to motion picture waterboarding. Sadly, not even the Bush Administration could condone this level of intolerable torture.

Complaining about noise in a movie theater, especially circa 2008, is a lot like kvetching over too-skinny supermodels or skanky reality whores. Thanks to home video, and a lessening human etiquette, people treat the cinema as their own personal private space, answer phone calls, texting their pals, talking intermittently over plot points and narrative particulars, and in general, acting like there is no decorum in visiting the local picture show. So to mention it within this context seems foolish. But in reality, a preview or advance screening is supposed to be a different animal. Since they are solely set up for the benefit the press (the other audience members are invited guests), there is an attempt to create some clear sonic parameters.

Sometimes, they work. Rarely do you hear people arguing over what some character said. Doing so usually meets with a strong "shhhhh" chorus. Even better, a cellphone ringing or any other kind of communication with the outside world leads to monitor admonitions, and frequently, an escort out of the theater via security. In general, the studios try to maintain a professional clime for the few remaining critics to work within. But there is one element they can't control, and in fact, would never want to manage. You see, when a theater agrees to a screening, they accept a flat rate payment for the seats they would have sold for that showing. So the company is reimbursed for the loss.

But since most movie theaters make their money from concession sales, the pittance they get for the lost seats is nothing compared to the cash they can commandeer from snacks. And since the audience is already getting to see a soon to be featured film for free, their tolerance for overpriced drinks and crappy popcorn is greatly diminished. And so they buy. They buy and buy and buy. They buy the salty sweet snacks en masse, loading the stadium seats with the nauseating aroma of fake butter, nacho cheese, pickled jalapeno slices, and microwave pizza. Some theaters - especially ones located in malls - even allow patrons to bring in their food court purchases. This means that the scent of fast food Chinese or mediocre meat sandwiches can be added to the swimming sea of stench.

For those of us in the biz, the olfactory assault we suffer each time we attend a screening is typically offset by our irritation over other issues (seating situations, credential clarifications). Still it can be quite a chore balancing our disappointment over a typically mediocre movie with the omnipresent fragrance of stale State Fair styled cuisine. Sometimes, we even take a "can't beat 'em, join 'em" approach and indulge ourselves. But far more disgusting than the stink generated by such gluttony gang bang is the noise - the endless streams of slurps, slorps, burps, farts, crunches, crackles, munches, rustles, and jostles that accompany the cinematic feed bag.

It's inevitable. No matter where I sit in the press row, I usually find the 'drink demon' behind me. You know the kind - plastic straw constantly sliding up and down the super-sized lid, the resulting "creak" like a dead clown's coffin door opening and closing. In between audible gulps, the ice is shaken and stirred, the better to mix the melting mixture with the backwash present. Every once in a while, a dry spot will be located, and the resulting libation loss causes an aural vacuum that brings back memories of the family dinner table, and Dad giving you that awful "punishment after the meal" look. Since the serving is typically 20 times that of what a human normally needs, this sipper cup ritual goes on for at least an hour. Once the last ounce of syrupy sugar has been tapped however, it's time to remove the top and chew on the remaining frozen fun for a while.

Or maybe you'll be lucky enough to sit in front of the 'snack spelunker'. You know the kind - the top of the popcorn bag is never enough. No, for this two fisted face stuffer, only the product at the bottom of the container will do. As a natural result of such digging, there's a distinct racket, similar to weevils burrowing into your brain. As the feasting continues, the noise grows more distinct, oil filled hand hitting on secret pockets of pseudo sustenance. Add in the constant chewing, the cow cud creation of the perfect cinematic experience and you have a soundtrack no film composer can compete against. There have been times when I've missed lines of dialogue as patrons partake of mandatory mastication, the combination of eating and obtaining producing a pronounced ruckus.

Naturally, no one is going to put the kibosh on such high profit margin behavior. Imagine the backlash should a studio monitor grab a microphone and announce, pre-screening, that the eating of snacks should be 'restrained' during the course of the running time. These people already get surly when having to ditch their Blackberry and quite their wee ones. Take away their food? That's a violation of their cinematic Constitutional rights. And since these free movies are all about entitlement (not to the media, who are usually getting paid to suffer through the situation), the more rules you try to impose, the more insurgency you foster. Heck, such behavior even happens in 'critics only' previews. Between sips of Starbucks and nibbles of Egg McMuffins, we members of the press can put up quite a cacophony.

Certainly The Rocker situation was unusual. Most advertisers don't try so hard to tie their swag into the storyline. It's usually CDs, clothing, and the occasional promotional poster. But even if the reps had removed the drumsticks from the equation, one would still have to suffer through endless gorging and the accompanying biological braggadocio that comes with it (and let's not talk about the occasional bouts of flatulence, shall we?). While we've come to expect some clamor within the theatrical experience, the sound of screenings can be trying indeed. To paraphrase the Buzzcocks, noise does annoy. And you don't have to be hit over the head with a piece of wood to prove it.

To be a migrant worker in America is to relearn the basic skills of living. Imagine doing that in your 60s and 70s, when you thought you'd be retired.


Nomadland: Surviving America in the Twenty-First Century

Publisher: W. W. Norton
Author: Jessica Bruder
Publication date: 2017-09
Amazon

There's been much hand-wringing over the state of the American economy in recent years. After the 2008 financial crisis upended middle-class families, we now live with regular media reports of recovery and growth -- as well as rising inequality and decreased social mobility. We ponder what kind of future we're creating for our children, while generally failing to consider who has already fallen between the gaps.

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Very few of their peers surpass Eurythmics in terms of artistic vision, musicianship, songwriting, and creative audacity.

The Rock and Roll Hall of Fame nominating committee's yearly announcement of the latest batch of potential inductees always generates the same reaction: a combination of sputtering outrage by fans of those deserving artists who've been shunned, and jubilation by fans of those who made the cut. The annual debate over the list of nominees is as inevitable as the announcement itself.

The Hall of Fame has been harshly criticized for some of its more inexplicable exclusions and for neglecting certain subgenres of music. Cynicism and negativity over the Hall's selection process and membership is fairly widespread. That said, despite the controversies and legitimate gripes, induction into the Rock and Roll Hall of Fame is still widely viewed as a career milestone. The Hall's stature feeds its surrounding controversies: after all, nobody would care to argue so vehemently about the merits of one artist over another if it wasn't important. Very rarely will a newly inducted artist miss the opportunity to appear at the star-studded ceremony to accept their honor.

The criteria for nomination is as follows: "Artists -- a group encompassing performers, composers and/or musicians -- become eligible for induction 25 years after the release of their first commercial recording. Besides demonstrating unquestionable musical excellence and talent, inductees will have had a significant impact on the development, evolution and preservation of rock and roll." Specifically for performers, "This category honors bands or solo artists which demonstrate musical excellence. Such a descriptor includes (but isn't limited to) influence on other performers or genres; length and depth of career and catalog; stylistic innovations; or superior technique and skills."

These standards allow the selection committee wide latitude with their choices, and generating a list that would create zero controversy is an obvious impossibility. As for those deserving artists yet to be included, their time will surely come. There has purportedly been an emphasis on increasing diversity among the nominating committee and voters in recent years, and the list of contenders for the class of 2018 reflects this.

Radiohead, as expected and deserved, are nominated in their first year of eligibility, and there is little doubt they will be inducted. Other nominees include Bon Jovi, Kate Bush, the Cars, Depeche Mode, Dire Straits, Eurythmics, J. Geils Band, Judas Priest, LL Cool J, MC5, the Meters, the Moody Blues, Rage Against the Machine, Nina Simone, Rufus featuring Chaka Khan, Sister Rosetta Tharpe, Link Wray and the Zombies. It's a strong and varied group.

Perhaps the most pleasant surprise on the list, however, is the British duo Eurythmics. Even though they've been eligible since 2006, this is their first nomination. Dave Stewart and Annie Lennox certainly deserve recognition for their important contributions to the musical fabric of the last 40 years. While Eurythmics have always been generally respected, they've never been darlings with the critics like some of their contemporaries. It's puzzling as to why. Very few of their peers surpass Eurythmics in terms of artistic vision, musicianship, songwriting and creative audacity. Lennox is second to noone as a vocalist, not just in her lead parts but also in the creative, often rhythmic way she uses her voice as an instrument. This nomination could boost the stature and perception of Eurythmics' body of work immeasurably.

Although Eurythmics are often consigned strictly to the synthpop genre, that designation fits only a portion of their repertoire. Each of their nine studio albums has its own unique vibe while retaining the duo's core identity. Eurythmics never repeat themselves, often taking bold risks and swerving in unexpected directions. Unlike many of their contemporaries, Eurythmics didn't "sell out" or compromise by chasing after obvious Top 40 hits. Even their most popular singles aren't commercial in the traditional sense, and they've always sounded like nobody else on the radio.

Despite the sudden emergence of their 1983 single "Sweet Dreams (are made of this)" as an MTV staple and international smash, Eurythmics are far from an overnight success story. Their story begins in London, 1975, when Stewart fortuitously encountered Lennox at the restaurant where she worked as a waitress. The Scottish singer had recently dropped out of the Royal Academy of Music, which she felt didn't suit her musical interests. Stewart and Lennox strongly connected over their love of music, and they quickly became a couple who were inseparable. Along with singer/ songwriter/ guitarist Peet Coombes, Stewart and Lennox formed a short-lived group the Catch. After one failed single, they added two members and renamed themselves the Tourists.

Coombes was the dominant creative force and primary songwriter behind the Tourists. Lennox and Coombes shared vocals on the band's dour and melancholy power-pop. The Tourists released three albums and managed a handful of chart appearances in the UK. Two of their singles, a peppy cover of Dusty Springfield's "I Only Want to Be With You" and the hard-rocking "So Good T\to Be Back Home Again", made the UK Top 10. The band toured extensively, but their success was fleeting. The Tourists' third album, Luminous Basement (1980), tanked badly despite containing their strongest material yet, and the group dissolved shortly thereafter.

Lennox and Stewart also endured a painful ending to their sometimes tumultuous romance, but they recognized the power of their musical chemistry and decided to continue working together as a duo. They were a pair "who couldn't be together, and who could not be apart", as Lennox reflects many years later in the song "17 Again". History has shown that they made the right decision: Stewart and Lennox compliment each other intuitively through a shared passion for music, the thrill of experimentation, and the need for emotional release that songwriting and performing allows.

The name Eurythmics was derived from a technique used to teach music to children based on sensory and physical methods of learning rhythm. The newly-christened duo signed with RCA Records and in early 1981 headed to Germany to record their debut album with highly-respected krautrock producer Conny Plank.

Plank already had a long string of acclaimed albums to his credit, including collaborations with Neu!, Can, Ultravox, Kraftwerk and Brian Eno among others. The sessions for what would become Eurythmics' debut album, In the Garden, were held at Plank's studio in Cologne. He brought several of his regular collaborators into the proceedings, including bassist Holger Czukay and drummer Jaki Liebezeit of avant-garde rockers Can, Blondie drummer Clem Burke and D.A.F. electronics whiz Robert Görl. Stewart has described the sessions as a learning experience that helped expand his perception of what pop music could be and how it could be created without following any rules, a perspective that served Eurythmics well.

Eurythmics' austere and hypnotic debut single "Never Gonna Cry Again" was released in May 1981. They filmed a low-budget video and landed a couple TV slots to promote the track, but the song's haunted nature did not translate to mainstream success: it barely scraped the lower reaches of the UK singles chart. A second single, the dreamy guitar-rocker "Belinda", followed in August but failed to chart.

In the Garden was finally released in October 1981, but without a hit to generate momentum it was barely noticed. Despite scant sales figures, the album's gloomy psychedelic guitar-pop makes for a rather strong debut. In the Garden exists in late summer shadows, densely atmospheric and shrouded in a veil of dread. Lennox's vocals are understated, subtle and lower in the mix than on subsequent albums. Sound effects, odd vocalizations and bits of sonic experimentation fade in and out like flashes of hazily repressed memory.

RCA wasn't eager to invest in a follow-up to In the Garden after its disappointing reception, so Stewart financed Eurythmics' second album largely through a personal bank loan. Faced with a minuscule budget, they worked in a London warehouse to avoid spending money on studio time. They were able to purchase cheap second-hand equipment for the sessions, including the basic TEAC 8-track on which most of the album was recorded. Adam Williams, former bassist for the ska band the Selectors, helped the duo learn the equipment while co-producing some of their earliest tracks.

The primitive set-up was the ultimate blessing in disguise. Since they were financing the sessions and self-producing, Eurythmics had the freedom to experiment with no oversight. As both Lennox and Stewart were enduring periods of deep personal strife at the time, the sessions evolved into an emotional and creative catharsis that helped shape the mercurial nature of the music. It was out of this environment that a classic was born.

Despite appearing only a few months after their debut album, the first single to emerge from the new sessions proved radically different than any of Eurythmics' prior work. Released in April 1982, "This Is the House" is a flamboyant, horn-driven spectacle on which Lennox belts out a vocal more confident and brash than any of her prior work. The song's odd mix of synthpop, R&B; and latin influences renders it completely unique, but despite its infectious ingenuity and beguiling loopiness (or perhaps because of it), "This Is the House" failed to chart.

The follow-up single that landed two months later is even better. Entrancing and soulful, "The Walk" exudes the anxiety, drama and innovation that became Eurythmics' hallmark. The vocal arrangement is ingenious, and Dick Cuthell (known for his work with Madness, the Specials, Fun Boy Three and others) lets rip a blistering trumpet solo. As in many of their songs, "The Walk" slowly ratchets up the tension through hypnotic repetition and the gradual addition of more layers of sound until it reaches a haywire frenzy. Although a brilliant recording, "The Walk" fared no better than its predecessor.

With the duo's second album Sweet Dreams (are made of this) completed, RCA began a strong promotional push, issuing the opening track "Love Is a Stranger" as a single in November 1982. Lennox's dazzling vocal ranges from icy cool to fiery passion over a relentless electric groove bracketed by sinuous lines of synth. "Love Is a Stranger" rose to #54 in the UK, their highest placement yet, and momentum was finally building for the duo thanks in part to the single's provocative video.

The first significant chapter in a series of visually arresting promotional clips that Eurythmics generated over the span of their career, "Love Is a Stranger" showcases Lennox's dramatic presence and her innate ability to command the viewer's attention. She plays multiple roles, ending the clip with her red hair slicked back and dressed androgynously in a man's suit. Image was quickly becoming an important part of the Eurythmics' equation, with Lennox always compelling no matter which character she inhabits, and Stewart often appearing as her sort of mad-scientist counterpart.

Sweet Dreams (are made of this) hit the shelves on 4 January 1983, along with its title-track, a single that continues to reverberate through pop music nearly 35 years after its release. Suddenly everything changed for Eurythmics. An obscure British duo, barely managing to survive in the music business, soared to the top with one of the more unconventional songs ever to scale those lofty heights.

"Sweet Dreams (are made of this)" has an unusual structure, with no real verses or chorus. Lennox has described it as a mantra, and indeed it is. The lyrics, which Lennox rattled off spontaneously in a matter of minutes, are a simple but profound statement about the human condition: "Everybody's looking for something," the search for meaning and fulfillment, the ephemeral "this" of which sweet dreams are made.

Lennox begins the song with a single line of vocal, then starting with "some of them want to use you" at the 0:24 point it doubles. From there the song gradually builds intensity, with the vocals increasingly layered. A masterful finalé combines all the sonic elements before fading to black, the mantra repeating endlessly, the "this" still stubbornly undefined. The booming minor-key bass riff and the epic string-motif solo starting at 1:31 are played by Lennox on a Roland Juno-6 synthesizer. The main riff (improvised by Lennox while listening to Stewart working on a drum-machine pattern), is a simple two-bar arpeggio that loops throughout most of the song. Two parts were recorded separately and panned on opposite sides of the sound spectrum, creating a richly resonant effect. "Sweet Dreams (are made of this)" is no dated relic from the early days of MTV burdened by the limitations the time. Its massive waves of synth flood out of the speakers with enormous power, as inexorably as the tide.

The music video, which became wildly popular on MTV during its heyday, is forever entwined with the song in listeners' collective consciousness. The iconic image of Lennox in her masculine suit and flaming orange flat-top helps to define the new wave era. Her forceful demeanor, nervy confidence and the subtle nuances of her facial expressions amplify the song's inherent tension. She confronts the viewer directly by pointing right in our faces at the 0:24 mark. At 1:56, she offers a sly half-smile with, "some of them want to abuse you", and at 2:15 she pounds her fist just as the song reaches its dramatic apex. Stewart appears throughout the video stoically pecking away on the drum machine he used in the recording of the song, the Movement MCS Drum Computer MK1 (except for that part where he and the cow have, well, a moment… It's all in the eye contact).

After a slow climb up the US pop chart, "Sweet Dreams (are made of this)" was finally able to derail the Police's "Every Breath You Take" from its seven-week reign at the top during the week of 3 September 1983. It would be Eurythmics' only chart-topping pop hit in America, and it reached #2 in the UK. In the wake of Eurythmics' new-found fame, "Love Is a Stranger" was re-released, this time becoming a major hit on both sides of the Atlantic.

The album's deep cuts are every bit as strange and fascinating as its better-known singles. The ghostly "Jennifer" is a narcotic reverie of keyboard swells and spectral atmospherics. "I've Got an Angel" and "Somebody Told Me" are serrated neurotic fits, swerving dangerously off-the-rails from anything that would normally be considered pop music. A long and mesmerizing exploration of urban isolation, "This City Never Sleeps" is a powerful finalé. Sweet Dreams (are made of this) is an examination of the human psyche fraught with turmoil, a series of jagged recurring nightmares and anxiety attacks set to music that is soulful and experimental, melodic but eccentric, a stark electronic soundscape that bristles with horns and unexpected sonic jolts.

Next Page: Potent and Ferocious

This film suggests that all violence—wars, duels, boxing, and the like—is nothing more than subterfuge for masculine insecurities and romantic adolescent notions, which in many ways come down to one and the same thing.

2001: A Space Odyssey (1968) crystalizes a rather nocturnal view of heterosexual, white masculinity that pervades much of Stanley Kubrick's films: after slithering from the primordial slime, we jockey for position in ceaseless turf wars over land, money, and women. Those wielding the largest bone/weapon claim the spoils. Despite our self-delusions about transcending our simian stirrings through our advanced technology and knowledge, we remain mired in our ancestral origins of brute force and domination—brilliantly condensed by Kubrick in one of the most famous cuts in cinematic history: a twirling bone ascends into the air only to cut to a graphic match of a space station. Ancient and modern technology collapse into a common denominator of possession, violence, and war.

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Here comes another Kompakt Pop Ambient collection to make life just a little more bearable.

Another (extremely rough) year has come and gone, which means that the German electronic music label Kompakt gets to roll out their annual Total and Pop Ambient compilations for us all.

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Winner of the 2017 Ameripolitan Music Award for Best Rockabilly Female stakes her claim with her band on accomplished new set.

Lara Hope & The Ark-Tones

Love You To Life

Label: Self-released
Release Date: 2017-08-11
Amazon
iTunes

Lara Hope and her band of roots rockin' country and rockabilly rabble rousers in the Ark-Tones have been the not so best kept secret of the Hudson Valley, New York music scene for awhile now.

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