Showing posts with label Elvis Costello. Show all posts
Showing posts with label Elvis Costello. Show all posts

Friday, December 1, 2017

Fuckity-bye


Too many blogs I've enjoyed reading have been abandoned by authors who abruptly quit posting new content, and too many of those blogs have never even bothered to say farewell to their readers. That's not going to happen here.

I decided in 2016 to quit posting new content for this Blogspot blog, which started out as a tie-in to a radio station I used to run, at the end of 2017. I'm throwing in the towel after 10 years of both writing blog posts barely anybody reads (except for a couple of posts that were read by more than a few after they were retweeted by Edgar Wright and Paul Feig) and getting erroneously referred to as "DK AFOS" or "Jimmy Aquino" without the crucial middle initial in my name by other blogs. The urge to throw in the towel is mostly due to wanting to concentrate on both a prose novel manuscript and Accidental Star Trek Cosplay--a far less time-consuming Tumblr blog with a list of followers that continues to grow (its amount of followers greatly outnumbers the number of people who follow my Twitter feed and the number of people who have hit "Like" on the AFOS Facebook page)--and I made this decision a year before I would stop posting new content, so that I could give myself some extra time to compose a proper farewell.

And the farewell message is this: nobody reads this fucking blog anymore. Thanks for nothing, fuckfaces.


The art of long-form blogging is no longer as enjoyable as it used to be. It's an art that's dying out. Godawful Twitter, equally godawful Facebook and the "pivot to video" trend in digital media are choking the life out of it.

Though it's in its death throes, long-form blogging has continued to be responsible for some outstanding writing. One of my favorite article headlines of 2017--and right now, I can't think of another headline that better sums up 2017--came out of the world of long-form blogging:


But otherwise, it's a dying art. And it's an art whose terminology nobody ever uses correctly. I've lost count of the amount of times someone has written to me, "I saw your blog about that movie," or "I saw your blog about the new Rick and Morty," and I want so badly to correct them and say, "What you mean to say is that you saw my blog post about the movie," but I don't want to sound like a Ted Mosby-ish douche.

The tiny audience I used to have over here has completely vanished. So why fucking bother anymore? I don't know if it's because of people's short attention spans these days and because each generation of readers has a shorter attention span than the last (it reminds me of one of my favorite Elvis Costello verses: "A teenage girl is crying because she don't look like a million dollars/So help her if you can/Because she don't seem to have the attention span"), but I think I'll blame the vanishing readership on that.

Also, the writer's blocks I sometimes would suffer from while trying to write posts during the blog's first few years have actually worsened in the last couple of years. Insert "Don Music banging his head on the keyboard" .GIF here.

Friday, February 22, 2013

AFOS Blog Rewind: Do the Right Thing (Part 5 of 5)

It's Black History Month, so all this week, I've been reposting every single past AFOS blog post about one of my favorite films, Do the Right Thing, the timeless and still-bracing 1989 Spike Lee Joint. You can hear original score (or original song) selections from Do the Right Thing on AFOS.

(Previously on AFOS: The Blog: Parts 1, 2, 3 and 4. The following is from April 4, 2012.)

Billy, don't forget to bring her a glass of water after the opening credits are over. No, wait, forget that. She doesn't want you to bring her water. Just sympathize with her thirstiness. She's tired of men always wanting to feel aw-nipotent.
(Photo source: The Criterion Contraption)
Laura K. Warrell's 2002 Salon article about Public Enemy's "Fight the Power"--which the group wrote for Do the Right Thing after Spike Lee abandoned his early idea of having Rosie Perez dance to The Capitols' "Cool Jerk" in the opening titles--excellently elucidates the P.E. track's impact on hip-hop, as well as pop music that means something more than the first four things in Elvis Costello's line about how songs are about five subjects ("I'm leaving you. You're leaving me. I want you. You don't want me. I believe in something.").

But Warrell's proclamation that conscious hip-hop is dead was premature. It's still out there. You just have to know where to look:
Like “Do the Right Thing,” the Spike Lee film to which it was tied, the song broke at a crucial period in America’s struggle with race, capturing both the psychological and social conflicts of the time. Unabashedly political, “Fight the Power” was confrontational in the way great rock has always been. It had the kind of irreverence that puts bands on FBI lists. “Fight” demanded action and, as the band’s most accessible hit, acted as the perfect summation of its ideology and sound. Every kid in America, white, black or brown, could connect to the song’s uncompromising cultural critique, its invigoratingly danceable sound and its rallying call.

This is the photo that Smiley the handicapped guy ('M-M-Mookie!') carries around with him in Do the Right Thing. It's to Smiley what the boombox is to Radio Raheem.
And who could blame them? Ultimately, parachute pants and Flock of Seagulls haircuts couldn’t quell the frustrations of the Me Decade. The presidential tag team of Ronald Reagan and George Bush Sr. had dismantled a battery of social programs, squashing urban communities already struggling with poverty, guns and violence. Crack ravaged the inner city. AIDS rocked the nation. Black leaders, including Jesse Jackson, tried to bathe America’s race problem in as bright a spotlight as possible. The artistic community, already defiant in the face of Reagan-era conservatism, became even more provocative. The ’80s gave us Robert Mapplethorpe, the U2 of “Sunday Bloody Sunday,” Darling Nikki…

From inside the storm, Chuck D comes out swinging, verbally hacking into scraps a roster of American icons: “Elvis was a hero to most/ But he never meant shit to me, you see/ Straight up racist that sucker was simple and plain/ Motherfuck him and John Wayne.” Arguably the most fearless lyric in all of popular music, this anti-ode to Elvis and John Wayne is a virtual flag-burning. Who better embodies the American ideal than Duke and the King, bumbling patriots who personified the nation’s illiberal character and defended its order, an order from which blacks had been routinely barred? Chuck D cutting them up so brazenly was like a spiritual emancipation for anyone who felt excluded from American culture. In making a mockery of two of the country’s greatest heroes, P.E. assailed white America’s fairy-tale world and boldly accepted their place at its margins.

Wednesday, April 4, 2012

And now, something interesting someone else wrote about a work that's represented in my "Ask for Babs" mix: Do the Right Thing

Billy, don't forget to bring her a glass of water after the opening credits are over. No, wait, forget that. She doesn't want you to bring her water. Just sympathize with her thirstiness. She's tired of men always wanting to feel aw-nipotent.
(Photo source: The Criterion Contraption)

Laura K. Warrell's 2002 Salon article about Public Enemy's "Fight the Power"--which the group wrote for Do the Right Thing after Spike Lee abandoned his early idea of having Rosie Perez dance to The Capitols' "Cool Jerk" in the opening titles--excellently elucidates the P.E. track's impact on hip-hop, as well as pop music that means something more than the first four things in Elvis Costello's line about how songs are about five subjects ("I'm leaving you. You're leaving me. I want you. You don't want me. I believe in something.").

But Warrell's proclamation that conscious hip-hop is dead was premature. It's still out there. You just have to know where to look:
Like “Do the Right Thing,” the Spike Lee film to which it was tied, the song broke at a crucial period in America’s struggle with race, capturing both the psychological and social conflicts of the time. Unabashedly political, “Fight the Power” was confrontational in the way great rock has always been. It had the kind of irreverence that puts bands on FBI lists. “Fight” demanded action and, as the band’s most accessible hit, acted as the perfect summation of its ideology and sound. Every kid in America, white, black or brown, could connect to the song’s uncompromising cultural critique, its invigoratingly danceable sound and its rallying call.

This is the photo that Smiley the handicapped guy ('M-M-Mookie!') carries around with him in Do the Right Thing. It's to Smiley what the boombox is to Radio Raheem.
And who could blame them? Ultimately, parachute pants and Flock of Seagulls haircuts couldn’t quell the frustrations of the Me Decade. The presidential tag team of Ronald Reagan and George Bush Sr. had dismantled a battery of social programs, squashing urban communities already struggling with poverty, guns and violence. Crack ravaged the inner city. AIDS rocked the nation. Black leaders, including Jesse Jackson, tried to bathe America’s race problem in as bright a spotlight as possible. The artistic community, already defiant in the face of Reagan-era conservatism, became even more provocative. The ’80s gave us Robert Mapplethorpe, the U2 of “Sunday Bloody Sunday,” Darling Nikki…

From inside the storm, Chuck D comes out swinging, verbally hacking into scraps a roster of American icons: “Elvis was a hero to most/ But he never meant shit to me, you see/ Straight up racist that sucker was simple and plain/ Motherfuck him and John Wayne.” Arguably the most fearless lyric in all of popular music, this anti-ode to Elvis and John Wayne is a virtual flag-burning. Who better embodies the American ideal than Duke and the King, bumbling patriots who personified the nation’s illiberal character and defended its order, an order from which blacks had been routinely barred? Chuck D cutting them up so brazenly was like a spiritual emancipation for anyone who felt excluded from American culture. In making a mockery of two of the country’s greatest heroes, P.E. assailed white America’s fairy-tale world and boldly accepted their place at its margins.

Monday, July 18, 2011

"Rome, Italian Style" Track of the Day: Elvis Costello and Sy Richardson, "A Town Called Big Nothing (Really Big Nothing)"

Every weekday from July 1 to July 29, the "'Rome, Italian Style' Track of the Day" series of posts provides info on the tracks from A Fistful of Soundtracks' "Rome, Italian Style" playlist, which focuses on how musicians outside the film and TV music world interpret '60s and '70s film and TV music. The one-hour "Rome, Italian Style" block airs Mondays through Thursdays at 11am on AFOS.

The MacManus Gang is that gang from The Warriors that has all the members dress like Elvis Costello circa 1978.
(Photo source: The Elvis Costello Wiki)
Song: "A Town Called Big Nothing (Really Big Nothing)" by The MacManus Gang featuring actor Sy Richardson
Released: 1987
Why's it part of the "Rome, Italian Style" playlist?: It's one of my favorite artists, Elvis Costello (recording under his real name Declan MacManus), doing a spaghetti western-style tune, with a voiceover by Lite from Repo Man. I can't pass that up.

Weave got tonight. Who needs tomorrow?
Costello, who did only backup vocals on "A Town Called Big Nothing," wrote the tune for a film he had a bit part in, Repo Man director Alex Cox's recently recut 1987 spaghetti western homage/spoof Straight to Hell, which stars Richardson, whose most noteworthy role outside of Cox's films was in the cult favorite Pushing Daisies (as the surly coroner with an unexplained grudge against Chi McBride's P.I. character Emerson Cod).

Listen to Costello do the British cowboy thing--decades before Daniel Craig in Cowboys & Aliens.

Saturday, April 16, 2011

Empire Records live-tweet recap (because today is Record Store Day)

I have a bad feeling about Rex.
(Photo source: Matt Ranzetta)

During the week Record Store Day 2010 took place, I live-tweeted Empire Records, which is set at a record store and seems to resurface on cable at least once every week. The movie is at its best when it pokes fun at washed-up soap stars/pop singers and sticks to being a relaxed comedy about working at a record store. At its worst, Empire Records is like a lousy and overdramatic Canadian teen soap that wouldn't look out of place on TeenNick.

Today is Record Store Day 2011, so I'm reposting my tweets about Empire Records.

(If you're not reading this on Record Store Day, this live-tweet recap can function as textual commentary that you can refer to while Empire Records is playing on TV. Sometimes, a certain movie I like will resurface on TV, and I want to see what someone else wrote about the movie, so I'll open an article or Wikipedia entry or IMDb trivia page about the movie that I had saved onto my laptop.)

-----

The name of the never-shown fake TV show where Rex Manning got his big break is The Family Way. Rex's TV show must have been part Family with Kristy McNichol, part Eight Is Enough, all crap.

Frigging Rex Manning Day. In a few minutes, I'm live-tweeting the #EmpireRecords: Remix! Special Fan Edition DVD, which came out in 2003.
12:05 PM

I'm a few minutes late. I'm on SuperStation TBS time.
12:06 PM

The Warner logo means the #EmpireRecords: Remix! Special Fan Edition live-tweet starts now. Why live-tweet a DVD that dropped 7 years ago?
12:09 PM

#EmpireRecords has things in it I like (particularly some of the songs and the fake Rex Manning music) and things I can't stand.
12:10 PM

The things I can't stand during #EmpireRecords (or as I like to call the film, Car Wash for alt-rockers) make it worthy of a live-tweet.
12:10 PM

When I started writing the webcomic The Palace, which is set at an indie theater, I told myself I must avoid the cliches of #EmpireRecords.
12:11 PM

The movie is an example of fun premise/sloppy execution (all that shit happens to the staffers in one day?).
12:11 PM

The movie flings dramatic crises at you with all the precision of a chimp flinging his poop at zoo-goers.
12:11 PM

This is the kind of movie where dunking a teen's head in the sink will make her diet pill addiction magically disappear.
12:13 PM

Thursday, April 15, 2010

Empire Records live-tweet recap

Rex likes to cover his dick in blue cheese? Didn't he watch that old Saturday morning PSA 'Don't Drown Your Junk?'

You know how the Star Trek feature film DVDs come with text commentary by Trek trivia king and Next Generation graphic designer Michael Okuda? Think of these tweets from my Twitter page on April 14 (a few days before Independent Record Store Day on April 17) as the text commentary that should have been part of the Empire Records DVD.

-----

The A.V. Club's Nathan Rabin wrote that Thank God It's Friday could be the polyester era's Empire Records. So does that mean Empire Records is the flannel era's Thank God It's Friday?

Frigging Rex Manning Day. In a few minutes, I'm live-tweeting the #EmpireRecords: Remix! Special Fan Edition DVD, which came out in 2003.
12:05 PM Apr 14th via web

I'm a few minutes late. I'm on SuperStation TBS time.
12:06 PM Apr 14th via web

The Warner logo means the #EmpireRecords: Remix! Special Fan Edition live-tweet starts now. Why live-tweet a DVD that dropped 7 years ago?
12:09 PM Apr 14th via web

#EmpireRecords has things in it I like (particularly some of the songs and the fake Rex Manning music) and things I can't stand.
12:10 PM Apr 14th via web

The things I can't stand during #EmpireRecords (or as I like to call the film, Car Wash for alt-rockers) make it worthy of a live-tweet.
12:10 PM Apr 14th via web

When I started writing the webcomic The Palace, which is set at an indie theater, I told myself I must avoid the cliches of #EmpireRecords.
12:11 PM Apr 14th via web

The movie is an example of fun premise/sloppy execution (all that shit happens to the staffers in one day?).
12:11 PM Apr 14th via web

The movie flings dramatic crises at you with all the precision of a chimp flinging his poop at zoo-goers.
12:11 PM Apr 14th via web

This is the kind of movie where dunking a teen's head in the sink will make her diet pill addiction magically disappear.
12:13 PM Apr 14th via web

Tuesday, June 23, 2009

AFOS: "Living in Paradise" playlist

A 2007 TCM promo by Exopolis
Airing tomorrow at 10am and 3pm Pacific on the Fistful of Soundtracks channel is the Fistful of Soundtracks: The Series episode "Living in Paradise" (WEB19) from July 21-27, 2003. WEB19 was a salute to one of my favorite cable channels, TCM, the greatest non-porno, non-sports channel ever. The cleverly programmed, commercial-free channel celebrated its 15th anniversary in April and launched the Classic Film Union, a film geeks' social networking site, earlier this month.

I borrowed the "Living in Paradise" title from an Elvis Costello track. I briefly went through a phase where I was naming AFOS episodes after Costello and Clash songs.

The first half of this playlist consists of themes from movies I first saw on TCM, from classics like The Great Escape and The Asphalt Jungle to lesser-known flicks like Richard Lester's The Knack... And How to Get It, which is now on Hulu. The Knack opens with my favorite John Barry movie theme that wasn't written for a 007 film.

The Knack... And How to Get It opening title sequence
1. Elmer Bernstein, "Main Title," The Great Escape, Rykodisc
2. Elmer Bernstein, "Main Title and Calvera," The Magnificent Seven, Rykodisc
3. Miklós Rózsa, "The Asphalt Jungle (Main Title)" (from The Asphalt Jungle), Crime Jazz: Music in the Second Degree, Rhino
4. John Barry, "The Knack (Main Theme)," The Knack... And How to Get It, Rykodisc
5. Henry Mancini and His Orchestra, "It Had Better Be Tonight (Instrumental)," The Pink Panther, BMG France
6. John Morris, "Springtime for Hitler," Music and Dialogue from Mel Brooks' The Producers, Razor & Tie
7. John Barry featuring the Voices of the Accademia Monteverdiana, "Chinon/Eleanor's Arrival," The Lion in Winter, Legacy/Columbia
8. Mark Knopfler, "Going Home (Theme of the Local Hero)," Local Hero, Warner Bros.
9. Duke Ellington Orchestra, "Main Title and Anatomy of a Murder," Anatomy of a Murder, Columbia/Legacy
10. Ray Charles, "In the Heat of the Night" (from In the Heat of the Night), In the Heat of the Night/They Call Me MISTER Tibbs!, Rykodisc
11. Miklós Rózsa, "Overture," King of Kings, Turner Classic Movies Music/Rhino Movie Music
12. Herbie Hancock, "Bring Down the Birds" (from Blow-Up), Blue Break Beats, Volume 4, Blue Note
13. The M-G-M Studio Orchestra, "Main Title (alternate version)," Singin' in the Rain: The Deluxe Fiftieth Anniversary Edition, Turner Classic Movies Music/Rhino Movie Music
14. Robert Preston, "The Shady Dame from Seville (Rehearsal)," Victor/Victoria, Turner Classic Movies Music/Rhino Movie Music
15. Miklós Rózsa, "Finale (extended choral track)," Ben-Hur, Turner Classic Movies Music/Rhino Movie Music

Repeats of A Fistful of Soundtracks: The Series air Wednesdays at 10am and 3pm.

Sunday, July 8, 2007

So EC thinks he won't dance

G4's Attack of the Show has a segment called "Around the Net," in which the hosts play the silliest viral videos from YouTube, which are often clips of skaters or extreme sports guys landing on their nuts. Since when did YouTube turn into America's Funniest Home Videos? All that's missing is Bob Saget introducing the clip with some lame pun supplied by some douchebag reject from the Small Wonder writing staff.

While others spend their time on YouTube watching unfunny homemade videos, I enjoy YouTube for its vast collection of clips from TV's past, like some great and rare live music footage.

Here are a couple of music clips I've enjoyed watching over and over on YouTube. The first is Elvis Costello and the Attractions performing "No Dancing" at a live gig that must have taken place between My Aim Is True and This Year's Model. This Attractions version of "No Dancing" is cooler than the version Costello recorded with Clover on My Aim Is True. It's a slightly slower and more menacing-sounding rendition, plus what the Clover version doesn't have is Steve Nieve rocking the '60s-ish organ and Pete Thomas kickin' ass on drums.


The other clip is a bit timely because of the eagerly awaited DVD release of the old This Is Tom Jones variety show. It looks like this clip isn't even included on the box set, which sucks (those godsdamn music rights issues are the culprit again?!). In this clip, everyone's favorite panties collector does an awesome cover of "Treat Her Right" and busts out some wild '60s white guy dance moves that threaten to dispel the notion that white guys don't have rhythm. Well, they don't, but Tom Jones does. Not even Carlton Banks could frug like Tom does during this clip:


My former colleague Todd Inoue is a Jones fan too. Here are some highlights from an ancient Todd article about "Tom Joons and hees puntees," as my mom would say:
What I love about Tom is that he has a laugh at the behest of his wonderful, overwrought persona. It's a shtick that's followed him around since "What's New Pussycat?" and lasted all the way to his gag cameo as himself in Mars Attacks! Look up "chutzpah," and there he is with shirt open, gold chains dangling.

Most of all, the man can sing the hell out of a tune...

Three panties got airborne after the '70s hit "She's a Lady."