Saturday, December 26, 2009

"Peaches" The Stranglers


A good buddy of mine has been recommending the movie "Sexy Beast" for the past six months and like the ten movies per day that are usually mentioned to me I got it on Netflix, ripped it and it sat on my hard drive probably never to be viewed. I don't know why though because this particular friend is spot on with his suggestions most of the time and is a well versed man of letters. I guess I was just busy, rarely do I set aside the two hours to lay down and watch something on the boob tube, for the most part it just seems like a waste of time regardless of the redeeming values of the film. The other day I was bored and figured I'd throw it on in the background while I gambled online and was pleasantly surprised.

I was surprised to say the least because the film is nothing like I pictured it to be, there is really very little in the movie that would lead one to entitle it as it was named. As good as the film is and even if British-violent-cursing-crime flicks aren't your speed it must be watched for the opening scene, in which this song "Peaches" is played.

The Stranglers originated in the UK punk scene of the mid to late 70's but I would be hesitant to classify them as the same type of punk as the Sex Pistols, lacking the pure nihilistic venom spit out by the boys from London. I remember listening (well if you can call it that) to the Stranglers in eighth grade in a neighborhood back yard with Vision shoes, Tony Hawk board, breaking bones on a half pipe waiting for the late summer swells to roll into the east coast. I never really grasped them after that period of my young life, I liked being part of the scene and what it represented more than I like the scene itself and went back to the Stones.

But I am glad I rediscovered them through this movie and its hysterical opening scene. The song is access able for a punk song in the fact that it isn't terribly hard nor difficult to make out the words. It (like the scene in the movie) is comprised of a man's internal thoughts in the sunshine and checking out the trim walking along the beach. It has a typical but catchy baseline, the word play is light and laughable consisting of a basic talking of the lyrics with the remainder of the band cutting in and out of the verse. A particularly notable verse which has drawn controversy:

Will you take a look over there?
Where?
There
Is she trying to get out of that clitares
Liberation for women
That's what I preach
Preacher man (shouted by all)
Walking on the beaches looking at the peaches.

The word clitares often being mistaken for clitoris, the former being a French bathing suit but of course it was meant to be mistaken as such.

All in all a fantastically fun song to get stuck in one's head and a fantastic opening to a great movie. Many times on these pages I begin to rant about what I am thinking about when listening to these songs but in this instance I can't think of a better visual than the opening of "Sexy Beast" to coincide with the music. Check both it and the song out sometime soon, it'll be worth the two hours.

Wednesday, December 16, 2009

Après Malaga, Almeria et Paris, "Beware! The killer!" débarque à... L.A.!

Ne vous étonnez pas, dear amis d’Outre-Atlantique, si nous n'apparaissons dans aucune manchette de presse : Jonathan Wells, le fondateur de RESFEST/RES Mag, avait assisté au Festival Protoclip (où l’on a gagné le "Prix Coup de Cœur du Jury") il y a à peine deux semaines et sur un coup de tête, a demandé à Jesus Hernandez (le clippeur officiel de MONDRIAN) s’il pourrait projeter exceptionnellement « Beware ! The killer !» dans le musée Hammer de Los Angeles, pour son propre festival... No problem, man!

Donc si vous êtes dans le coin le 17 décembre, soit demain, allez faire un tour dans le théâtre Billy Wilder. Même que Michel Gondry et Keith Schofield présenteront (oui oui, en chair et en os!) leurs nouveaux travaux !
More details here: http://flux.net/flux-screening-series-at-the-hammer-los-angeles-6.


Flux Screening Series
Thursday December 17, 2009
8:00 pm screening, 10:00 pm after-party
Hammer Museum
Billy Wilder Theater
10899 Wilshire Blvd.
Los Angeles, CA 90024
310.443.7000

Monday, December 14, 2009

"Adagio from Concerto Grosso Op 6 No 8 in G Minor Christmas Concerto" Arcangelo Corelli


In this post there will be mention of heroin, sex, deserts, cars and any other pseudo idiom I revert to in bringing my point across about a certain song or artist. Because right now I am two bottles of an especially deep, tobacco-flavored red deep, am losing more money than I care to admit in the Asian markets and yet while listening to this particular piece I am not really thinking of it in any way. In fact, I have to remind myself to actually look at the screen every once in a while even if my fear of margin calls are vanquished by this beautifully hypnotic example of tonality.

Right now I am down three thousand, in two minutes I could be up ten grand. However just as markets can swing in minutes, even seconds; one's mood can be transformed by the one minute and fifty seven second Adagio. It will probably sound familiar to some, it was used in the film, an excellent film "Master and Commander" and since then has been used in a few others. The initial feel is that of sitting in church waiting for the Marriage Ceremony to begin (since I am a single, male, thirty one years old I have no idea what the name of that particular piece is but you know of which one I am referring), it sounds like that song. But in its entirety it is not that or any other wedding song. This song, especially the beautiful run that begins at 1:21, makes the song and to me it makes Corelli.

In those last thirty five seconds Corelli transitions from every other classical composer in their banality, standardization and general malaise then brings forward the reason why music was invented: To capture an emotion so complex that words would never suffice. Thirty five seconds to harness the horror of a battlefield hours after the fight, thirty five seconds to lower as casket into the grave in some shady grove in the rolling hills of West Virginia. Thirty five to describe a baby exiting the womb and taking its first breath, a graduation ceremony, two people strolling by the reservoir in Central Park, a craftsman in Shanghai constructing hand made shoes and waves breaking through the lighthouse of the Normandy Coast. Listen to this song and make your own images, I guarantee you they will all fit, all of them. And think about that for a second, how universal such an idea is....that is the definition of great classical music.

It is all there, and the most judicious course of action I could ever grant one is to cease with the hyperbole and let the reader draw his own conclusions. As stated before words are quite inadequate to explain such precision and pulchritude.

El Pais: ""Beware! The Killer!" gana el premio RTVA a la mejor creación Andaluza en el Festival Almería en Corto"

Sunday, December 13, 2009

"Angel Eyes" Frank Sinatra-80th Live in Concert


There's a famously funny SNL sketch with Phil Hartman playing Sinatra hosting a parody of John Mclaughlin's The Mclaughlin Group. Anyone who has ever watched the show knows that John bluntly lays out about four issues each show and asks the panel of their opinions. On the SNL skit Frank is the moderator and proposes issues not of the political realm but those of which would concern him and his attitude on life. The third issue brought to the panel by Frank on this particular show is: "Rita Hayworth or Eva Gardner, Who would you rather nail?" to which Frank then qualifies by saying he would have to "excuse himself because he done 'em both". While funny and keeping within the lines of what the majority of the world thought and knew of Frank, the question and idea is in no way true to life.

What people do not know about Sinatra and his life is that Eva Gardner both ruined and made him the man he was famous for being. Sinatra left his first wife for Eva and from the start their relationship was tumultuous and rocky at best, his career began to falter and he found himself in a state of depression and alcoholism. While his wife was in Spain romancing a bullfighter Sinatra began to drink heavily and smoke over three packs of cigarettes a day, he was broke, living off his wife, his career was in total shambles. He made three attempts at suicide during this time.

With a lucky break in a role that was tailor made for him as Maggio (the story of how he landed it was immortalized in "The Godfather") in From Here to Eternity which lead to an Oscar, Sinatra clawed his way back to stardom. His singing changed from the teen idol he was before to a more introspective, forceful yet fragile persona and the rest is history, all because of Eva. Critics at the time said that his actual voice had literally changed from the drinking and smoking, that it possessed a gravitas and stoicism never seen before.

Though they would eventually divorce, later in his years Sinatra was known to say that Eva was the love of his life, every year he bought her flowers for her birthday and after her death delivered them to her grave until his own demise. "Angel Eyes" was Eva's song and the reason why he sounded so Goddamn soulful and depressed while singing it no matter how many times he had.

Written by Earl Brent and Matt Dennis this standard has been covered by all the great names in music at the time, Bill Henderson, Chet Baker, Don Ellis, Kenny Burrell, Pat Metheny, Sonny Stitt, Ella Fitzgerald, Hank Crawford, Earl Grant, Jim Hall, Wayne Shorter and Duke Ellington. Sinatra made it his own and filled those three minutes with years of pain, loss, rage and redemption. His phrasing is spot on, his voice a whisper on the verge of failing (it is said that without the invention of the microphone he would never have become a singer since he sung so quietly) while the piano comes in heavy drunkenness just as the mood calls for.

I'd like to think I'd walk into P.J. Clarke's one day and all the tourist would be gone, the smoking laws reversed after Bloomberg succumbed to lung cancer. It'd be late and raining, I'd sit down at that old bar, loosen my tie, order a scotch and light up a Camel nonfilter. I'd look to my right and Frank would be sitting down head in hands, elbows on the bar, not Frank the persona but the man, unknown and faceless. We'd have a nice long talk about the world and women. Possibly such an intervention would have inoculated me from the pain and suffering I would eventually experience in life. More likely than not his advice would have been not to avoid such crucibles but to embrace them with the hope that my own Angel Eyes was on the horizon and almost within reach. And if lost at least I'd have a song of my own to revert to for the remainder of my years.

"Love, a collision" : la vidéo sur le portail de notodotv.com