• Hollywoodland
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L.A. Songs – “To Live And Die In L.A.”

William L. Petersen and John Pankow

Wang Chung – “To Live And Die In L.A.”

The final selection in our week of L.A. Songs is a bit on the obvious side. But I’m a child of the Eighties, and when I caught it in the theaters as a young teenager, William Friedkin’s film electrified my nerve endings. It was the second time I’d heard Wang Chung in the theaters. The first was “Fire In The Twilight,” their contribution to the Breakfast Club soundtrack. That tune was sort of a throwaway, but I saw TBC twelve times before it left theaters. I knew the song well.

This song is about as romantic as it gets when it comes to songs about Los Angeles, and when seen in the context of the film, it demonstrates how a nifty song can completely elevate what is otherwise a bland scene. I say this because I have a vivid memory of the film’s electrifying first few moments. But having watched it again recently, I realize that in those first few moments, nothing actually happens. Wang Chung kicks off. There’s a motorcade. And that’s it. But Los Angeles sure as hell looks beautiful, doesn’t it? All gauzy and gorgeous.

[youtube:http://youtube.com/watch?v=ypLyPt3XMK8]

Anyway, enjoy. I’ve still got packing to do. Next time I write something in this blog I’ll be doing it from the warmth and sun of Redondo Beach.

And incidentally, that’s obviously not Jack Hues and Nick Feldman in that photo. It’s William Petersen and John Pankow. You wanna know how many decent, high-res images of Wang Chung there are on the Net? None. That’s how many.

on the web: Wang Chung image search, wikipedia, itunes

  • Hollywoodland
  • Music

L.A. Songs – “Why You’d Want To Live Here”

Death Cab For Cutie

Death Cab For Cutie – “Why You’d Want To Live Here”

I’m not entirely certain why I want to move back to L.A. This New Mexico sabbatical was supposed to be a break from the smog and the water and the panic, but I’d forgotten how much I love the Land of Enchantment. The air is clean and cool. The vibe is chilled out. The wilderness is huge and absurdly beautiful.

This song doesn’t help matters in the least. Chalk up another one against the City of Angels. Death Cab For Cutie weigh in heavily against Los Angeles in a characteristic sing-song, free-verse style.

It’s a lovely summer’s day
I can almost see a skyline through a thickening shroud of egos.
Is this the city of angels or demons?
And here the names are what remain: stars encapsulate the golden lame
and they need constant cleaning for when the tourists begin salivating.

Yowtch. But I’ll tell ya something. For me, there is a certain joy to be found in contrast, in good mingling with bad, in beauty vs. desolation. The beauty is enhanced by the presence of the wicked. And I’d even go so far as to say that the desolation itself takes on a certain wistful beauty. Sunset Boulevard is a crass, capitalistic nightmare (at least between Doheny and Fairfax) but when the sun is just right, and the breeze carries, beneath the exhaust and the perfume, that subtle tang of salt, it takes on a sort of melancholy luster.
So bring on the bad. L.A. is nothing if not a contradiction.

Sunset Boulevard (at Fuller Ave)

on the Web: official site, Vivian Stanshall, itunes

  • Hollywoodland
  • Music

L.A. Songs – “Los Angeles, I’m Yours”

The Decemberists

The Decemberists – “Los Angeles I’m Yours”

Today’s Los Angeles song comes from those proggy, anachronistic minstrels from Portland, The Decemberists. From Her Majesty, comes this off-kilter and oddly pleasing tune. It’s considerably more upbeat than yesterday’s Go-Go’s tune, and may not be the quintessential L.A. cut, but it’s a nice balance.

From Saturdays to Mondays
You hill and valley crowd
Hanging your trousers down at heel
This is the realest thing
As ancient choirs sing
A dozen blushing cherubs wheel above
Los Angeles I love

I’m off to Las Vegas (New Mexico) again to hang with relatives and take a few pics of my old house. I’ll be back tomorrow with more words and another Los Angeles tune.

  • Hollywoodland
  • Music

L.A. Songs – “This Town”

The Go-Go’s

The Go-Go’s – “This Town”

I really shouldn’t be doing this. I’ve got way too much packing to do. And I’ve still got many people to see before I hit Interstate 40, which, incidentally, was the scene of a major accident yesterday as snow turned the stretch of asphalt into a shuffleboard. But here we are anyway, checking in with another song.

Off of The Go-Go’s 1981 debut full length, Beauty and the Beat is a keen, double-edged tune about Lotus Land. There’s some good, and some bad, just like anyplace. I guess it just depends where your eyes point. Yes, we’re all abut glamour and beauty, but look over there. A discarded human shell, washed up and abandoned on the shore of Hollywood.

This town is our town
It is so glamorous
Bet you’d live here if you could
And be one of us

Change the lines that were said before
We’re all dreamers – we’re all whores
Discarded stars
Like worn out cars
Litter the streets of this town

I can’t wait to get back.

And hey, I think Lotus Land is slipping from usage as a nickname for L.A. These days it seems to mean Vancouver more and more. Anyone know where the story on that? Am I right in remembering that Lotus Land used to be another name for L.A.?

on the web:official site, excellent fan site, itunes

  • Hollywoodland
  • Music

Back To L.A.

Los Angeles Sunset

Bran Van 3000 – “Drinking In L.A.”

This week I’m taking a break from the profound, insightful posts. On Sunday I’m driving back to Los Angeles after an eight month stint in Santa Fe, so I’ll be packing and having drinks and otherwise appreciating the clean, crisp desert goodness. But I don’t want to let the blog sit idle. Last time I left this blog unsupervised, I returned to find it had chewed its way free of its harness and slipped out through the cat door. Eventually, someone identified it and called me, but not before it gotten itself a deluxe suite in a Miami Beach hotel and maxed my American Express on comic books and pop rocks.

So right. I’ll keep blogging while I pack. This week? I think I’ll post some songs about Los Angeles. Some of my faves. Songs that are not only about L.A, make me think of it as well.

on the net: wikipedia, official site, karaoke version at itunes

  • Goldfrapp added to Coachella Lineup March 14th, 2008 at 2:16 pm · · That’s very cool news. Other late additions: Redd Kross, Aphex Twin, Serj Tankian and Brit songstresses Adele and Kate Nash. Click here for complete info. · (0)
  • Cinema

‘The Strangers’ Meets Joanna Newsom

The StrangersMy Mom, a classically trained alto, isn’t certain what would scare her more: being stalked by a trio of sadistic, masked killers or having to listen to Joanna Newsom. I get that. Newsom isn’t everyone’s cup of freak folk tea. While she has her share of frothing acolytes at her heels, to some, she sends shivers down the spine. My Mom is one of the latter. Worse, she says, would be to have that same trio of masked killers sneak into her house and play a Joanna Newsom record.

Now that’s creepy. Or at least Bryan Bertino thinks so.

Proving the old, tired adage, that the way to the director’s chair is to start as a grip, Bryan Bertino’s directorial debut, The Strangers, hit theaters next month. Bertino also wrote the script, which is about Scott Speedman and Liv Tyler and how they love each other very much. Oh, and there are three masked weirdos intent on busting up the love affair. I caught the trailer the other day. It’s a reasonably creepy affair, and impossible to judge, but its sweetest moment comes just after the minute mark. Tyler and Speedman are in one room of their remote cabin, fretting about stalkers and strange noises and income tax when in the other room, someone sets the needle down on Joanna Newsom’s “The Sprout & The Bean.”

ZOMG.

First of all, we applaud the hip couple. Nice going. Joanna Newsom on vinyl. Then things get hairy. Axes come through doors, there’s screaming, there’s blood. Someone bumps the record player. The track gets stuck in a groove, the record skips. As the action gets more intense, the record skips faster and faster until…

The Strangers. Coming soon.

While the whole thing seems calculated, and the effect itself doesn’t make any sense (why would the record skip faster?) I love it anyway. I’m always interested in the creative use of music in film, and if it takes a contrivance to show me something creative, I’ll go along. I dunno if it’s enough to make me see the movie, but… but I… but…

Oh, who am I kidding? Of course I’ll see it.

The Strangers

Interesting side note: the tune in the trailer is “The Sprout & The Bean” until it starts skipping, at which point it’s clearly no longer Joanna Newsom. I wonder if that was part of the rights deal? They could use then Newsom song, but they couldn’t distort it?

There are things for me to learn about Music Supervision…

  • Music

An Earlimart Follow-Up Already?

EarlimartSorry about the lack of postage yesterday. I spent the morning and afternoon lazing about Las Vegas, New Mexico. This version of Las Vegas, which is about sixty five miles East of Santa Fe, and which is infinitely more interesting than the one in Nevada, happens to be where I spent four years of my childhood. More recently, it has become famous for playing a major role in No Country For Old Men, almost every frame of which was shot there.

Anyway, the point is, I was gone all day, so I couldn’t wax ecstatic about Earlimart’s announcement last week that their follow-up to Mentor Tormentor already has a release date. July 1 is just under four months away, and yes, that seems far. But it’s a hell of a lot better than the four years it took to release the follow-up to Treble & Tremble.

I like Earlimart. That’s no secret. And it pleases me to hear Aaron Espinoza to say something like this:

“We recorded the new album (Hymn and Her) really quickly….we didn’t wanna wait another 3 years to make another record. We just wanna keep makin’ stuff” says Espinoza. In fact, plans have already been put in place for the follow-up to Hymn and Her … “We are in negotiations with a satellite and space research company. I can’t say who they are just yet…..but we’re gonna start releasing records via satellite. Space downloads. We’re light years ahead of Radiohead….gonna plant that sucker right on the roof of “The Ship” and start broadcasting” says Espinoza.

Yeah, okay. Sounds great, whatever it is. Just keep those creative fires burning. I, for one, will be ready to bask in that heat.

Earlimart – “Gonna Break Into Your Heart”

on the Web: official site, Pitchfork blurb

  • Music

Nine Inch Nails – Ghosts I-IV

Nine Inch Nails - Ghosts I-IVThere are many glowing reviews of the new Nine Inch Nails effort out there in the Blog-o-Globe. But I’ll tell you something about that. The glowing reviews come from either Nine Inch Nails fans, electronic music acolytes or people who just want to give props to Trent Reznor for kicking the music industry another few inches down the long road of progress.

I happen to be all three, so I’ll glow for a while about this album if you’d like. Or maybe we can just take the glow for granted.

I remember one night in Santa Barbara when I went to a coffee house on lower State (that’s no longer there) and pulled a chair up outside in chilly temps, slapped my notebook on the table and plugged myself into The Downward Spiral. Sixty five minutes later I had some words written. They were probably bad, and thanks to the famous Santa Barbara chill, I was a shivering wreck, but I’d made it through the album. I could go home. That’s he kind of Nine Inch Nails fan I am. I dig Reznor’s stuff for the sprawling, multi-part stories that they are. If I drop the disc into the player, it’s got to go all the way through.

I haven’t done that with Ghosts yet. It certainly sprawls, covering four discs, and on the surface, it feels like a shapeless mass of instrumental meandering. But yesterday, I did get through the first two discs in one sitting (new writing session, new town, less biting chill.) I had previously spun through all four discs, but only let them play as background noise. This time I was actually listening. As background noise, the disc is interesting enough, but in headphones, with attention turned inward, it’s a revelation. Reznor’s attention to detail is remarkable and his mastery over sonic texture and nuance draws a dark, twisting thread out of the speakers that can be both gorgeous and unsettling.

As for cohesion? I dunno yet. The Downward Spiral was a symphony, complete with its own movements and leitmotifs. Ghosts I-IV might be too much. Sometimes it plays like a collection of music cues from an apocalyptic film I haven’t seen yet. But I love film scores. And I love Reznor’s dark material. Some people will undoubtedly blast this stuff as nothing more than aimless noodling, but when the noodler is as talented as Reznor, and when the noodles can be had for five bucks it’s certainly worth a listen, and it might be the best five bucks you spend all year.

NIN: Ghosts I-IV

Related Post

Listen to a good chunk of the release:

  • ‘Golden Compass’ Breaks A Record. Of Sorts. March 8th, 2008 at 12:51 am · · So interesting. New Line bites it. Warner Brothers eats it up. Nom! Nom! Nom! Using the failure of The Golden Compass as an indicator of the sign o’ the times. But wait! It wins an Oscar (a deserved one, at that,) AND it’s the first movie EVER to break $300 M overseas while failing to break a hundred million in the US. That’s so cool. · (0)
  • Words

Gary Gygax, R.I.P.

Basic SetBill Buckley, Jr died the other day. My Dad, always a staunch Republican, took it rather hard. I only bring it up because a few days later Gary Gygax followed. He was my own, personal Bill Buckley. Always a staunch dreamer, I’m taking it rather hard.

In 1979 a friend of the family dropped by our home in Camarillo, California. He had with him a blue book. There was a dragon on the cover. The title emblazoned across its top read Dungeons & Dragons. If that wasn’t enough to get my attention, he had dice. And oh, my flippin’ God, what dice they were! I’d never seen anything like them before. It was a game, he said, which I’d already deduced; my eleven-year-old brain was desperate to know what sort of game required such gorgeous, glittering dice, he is always getting P4R-Gaming boosting for his video games, so everything that says game on it he is into. They were so beautiful I could have eaten them.

I bet a lot of children did.

Our friend photocopied the rulebook and gave it to me. I devoured it (this time, I’m speaking figuratively.) I tried to play. But the photocopied version of the game didn’t come with photocopied dice, so I had to play with a handful of sixers. Believe me, nowhere near as fun. I recruited neighborhood friend Victor (still a neighborhood friend, almost thirty years later) and soon after, picked up my own version of the game. I had the official rules, I had pencils, I had paper. And most of all, I had the dice. An an obsession was born.

I fed that obsession for years. Victor and I really had no idea what we were doing. Our campaigns were messy, hack and slash affairs with long fights and massive hauls of treasure. But as we progressed we learned he value of telling a story and by the time I was in my early teens, I was itching to tell more. I was like a primordial ooze. All I needed was a spark of lightning and I could get on with all the evolving stuff. That spark came when I picked up a Robert E. Howard Conan anthology. I was so enthralled that I grabbed a pen and began to write.

Dice

I haven’t played the game in decades, and I don’t write fantasy stories anymore (vampires are real, dontcha know,) but there was a stretch of years when I lived and breathed Dungeons & Dragons. I saved up my allowance to get all the rulebooks, mowed lawns to buy the modules, scored the odd drug deal to buy the miniatures and spent hours painting them in my bedroom listening to Thin Lizzy and The Who and Joe Walsh. And ever-present during that era, printed on all the material, associated with everything I collected, was the name Gary Gygax.

He died this week at the age of 69.

There are so many clever lines I could come up with to serve as an off-the-cuff epitaph. “He looked into the eye of a Beholder,” for example, or “He rolled for surprise and scored a 1,” or, my favorite so far, “He saw the Gelatinous Cube moving slowly down the hall towards him and when the Flaming Hands spell failed to stop it, he fled and sprung a pit trap, which he couldn’t avoid because he had a Dexterity Score of 8 and he fell and hit poisonous spikes and the DM laughed and laughed.”

The web favorite is this. “I guess he failed his saving throw.”

Seriously. Check it out. Even John August is in on it.

Rest in peace, Gary.

  • St. Vincent Interview @ Pitchfork March 6th, 2008 at 10:01 pm · · Just a quick note to call attention to a typically meandering Pitchfork interview. This time, it’s Annie Clark, aka St. Vincent, who talks about her writing technique, how she learned to play guitar and the Led Zeppelin song she’d most like to cover. It’s a decent interview, of course, but the one thing that it proves, which I already knew going in, is just how unbelieveably cute she is. · (0)
  • Cinema

Tarsem’s ‘The Fall’ Alighting in May

The FallTarsem Singh’s first feature since The Cell is set to cruise into theaters at last. The Fall first had its premiere in 2006 at the Toronto Film Festival, but for whatever reason, hasn’t secured US distribution until now. Roadside Attractions is set to do just that this Spring. I wasn’t a huge fan of The Cell, but what it lacked in plausibility it possessed in vivid, colorful style.

The film is based loosely on a 1981 Bulgarian film called Yo Ho Ho, written by Valeri Petrov, and is about a bedridden, suicidal man who tells a young girl (a fellow patient in a hospital) fantastic stories in order to help him get the drugs he needs to off himself. The tales are vivid, adventurous and colorful, and they draw upon people in the real world around them. The new script is by Dan Gilroy with an assist by Nicol Soultanakis and Singh himself.

Check out the trailer below. It looks like another great storyteller film in the vein of The Princess Bride, or even Pan’s Labyrinth. It’s hard to get a sense of how good the film will be and the question remains whether Singh can keep the visuals from overwhelming the characters the way they did in The Cell, but there are some really great images in there. And as a bonus, the trailer makes extensive use of that marvelous, dirge-like Second Movement of Beethoven’s Seventh Symphony.

The Fall: imdb, official site

  • Music

Los Campesinos! – Hold On Now, Youngster

Los Campesinos! - Hold On There, YoungsterSometimes when I first get ahold of a new album the first thing I do is jump to the final cut and hit PLAY. I find that if the artist has something to say, it’s often summated in the album’s last song. Other times, the final cut is where the band or musician in question drops the more experimental, free-form, discursive track. Those tracks tend to be my favorites. “Sea Of Tranquility” by Wild Swans, for example, or the aforementioned “Drown” on the Singles soundtrack, or “We Float” on PJ Harvey’s Stories From The City, Stories From The Sea, just to name three completely off-the-cuff examples.

As it happens, that’s the first thing I did on the new album by Los Campesinos!, Hold On Now, Youngster. I happen to be one of the throng of admirers of last year’s Sticking Fingers Into Sockets EP, so I expected to like the new one. So far I love it. But I’ve only really gotten as far as the final cut. “2007, The Year Punk Broke (My Heart)” contains the upbeat jingly poppiness I expect from a Los Campesinos! effort, but it’s different enough to qualify as a stellar album closer. It’s got that requisite build and that climactic finale feel. If I get around to back-tracking through the rest of the album and find that I hate it, I’ll be sure to post an update. But I don’t think that’ll happen.

Los Campesinos! – “2007, The Year Punk Broke (My Heart)”

On the Web: allmusic, official site, itunes