"“A lot of our audiences are kids and teens, and they want to be in on the joke. And they’ll listen again. We’re just a little looser with this stuff than most traditional first ladies.”" -- Michelle Obama, interviewed by Variety.
Much like Steven Spielberg and his longtime collaboration with John Williams, it’s incredibly difficult to imagine a Coen Brothers film without the indispensable work of Carter Burwell: [more inside]
Too many films are blighted by lacklustre music - Ennio Morricone Ennio Morricone, 88, asserts that contemporary soundtracks are ruined by "amateur" composers and "synthesized" sounds. Is this just attention-grabbing comments for his upcoming tour, old-school vs. new wave, grumpy curmudgeon on the porch ranting? Or does the OST for Mad Max: Fury Road suck? [more inside]
Just how many Sci-Fi / Action movie references are in Taylor Swift's new video "Bad Blood"? IO9 attempts to make a tally of them all.
Put down the boom box: 28 romantic gestures from Film, Television and Music that are actually creepy (SingleLinkAVClub)
"A song, a poem, a scene from a film triggers memories. You’re startled, moved, shaken. And you’re faced with two options: 1) engage with the work and the memories it calls up, or 2) retreat, postpone, avoid. Option 2 is very attractive." Matt Zoller Seitz remembers his wife Jennifer, who would have turned 44 today. [more inside]
The following conversation took place in 2005 in front of an audience at the Telluride film festival in Colorado, after a screening of Martin Scorsese’s documentary, Bob Dylan: No Direction Home.
What's that you say? You like to read movie and music related lists on the Internet? Well here you go: The Movies' 50 Greatest Pop Music Moments from the folks at The Dissolve.
With St. Patrick's Day fast approaching, it's a great opportunity to have a look at "Danny Boy". [more inside]
Don't fight it. It's the year of the oral history. If there hasn't yet been an oral history on your favorite pop culture phenomenon, it won't be long. In the meantime, for your reading pleasure, how about starting with an oral history of Captain Marvel: The Series? Or perhaps you'd rather read about The Telluride Bluegrass Festival? If your taste runs more toward technology, check out an oral history of Apple design. More reading inside! [more inside]
If it weren't for the 1976 Copyright Act, copyright on work would expire after 56 years - which would have meant that Kerouac's On The Road, the original 12 Angry Men, and Elvis's All Shook Up would be public domain by today.
Best known for creating the nostalgic mash-up REMEMBER series (previously), Youtube user Thepeterson teams up with Slackstory to create another video clip time machine: REMEMBER 1994
Though it became an epic flop and forced Francis Ford Coppola to declare bankruptcy, the 1982 musical One From the Heart (previously) did produce one hell of a soundtrack featuring the unlikely collaboration between Tom Waits and Crystal Gayle. Here's the story of how it all came together. [more inside]
Rock 'N' Roll High School, staring the Ramones, is one of the five greatest American films of all time. Well, five best movie musicals? At the very least, the scene of the band rolling down the high school halls and blaring "Do Ya Wanna Dance" with the teen archetypes (cheerleaders, jocks, geeks, etc.) following, clapping and dancing while brewing up the eventual explosion of the school, could be the most transcendent two minutes of any rock movie. - Eric Davidson, introducing his interview of director Allan Arkush
The mash-up clip music group Electic Method re-mix and paste together sounds from Sci-Fi movies to create THE FUTURE
Pirate Bay to be blocked By UK ISPs. "File-sharing site The Pirate Bay must be blocked by UK internet service providers, the High Court has ruled." [more inside]
We shrugged when friends told us Prince's Sign "O" the Times was the greatest rock concert movie ever. There are limits to how great a rock concert movie can be, and we figured Jonathan Demme's--and Talking Heads'--Stop Making Sense had stretched them as far as they were liable to go. But even though Sign "O" the Times was directed by the artiste, whose previous cinematic exploits haven't exactly put him in Demme's class, Prince has come up with a contender. Where Demme goes for a sinuous, almost elegant clarity, Prince's movie is all murk, scuzz, steam, and, oh yeah, sex. With all due respect, which one sounds more like a real rock concert to you? - Robert Christgau [more inside]
Record Shops is a new web site that's attempting to list all record shops world wide. Allows you to rate/review shops you're familiar with and scope out the scene in places you're travelling to.
Does the success of Trent Reznor, Clint Mansell and others suggest an end to the dominance of the traditional orchestral soundtrack?
The worst book that will ever exist in the history of all books! A collection of the internet's worst reviewers.
John Williams turned 80 today! The American composer is best known for the themes from Star Wars, Jaws, Close Encounters of the Third Kind, and Indiana Jones, but starting with the score adaptation for Valley of the Dolls, he's racked up 47 Oscar nominations in a 44-year span, including 5 wins. [more inside]
Le Blues De Memphis — behind the scenes at STAX & FAME Recording Studios (1969) and Hollywood Blues, a 1969 Hollywood Recording Session. Just a sample of the vintage 50s, 60s & 70s music, movies, microcode and high-speed pizza delivery at Bedazzled.tv. [sacré bleu]
One of the more famous suppressed films of recent years is Superstar: The Karen Carpenter Story, an early work by writer/director Todd Haynes (Safe, Velvet Goldmine, Far from Heaven). Filmed in 1987, the short film -- which relates the rise and fall of Karen Carpenter with a cast of Barbie dolls -- barely got a year's worth of festival time in 1989 before the twin iron boots of A&M Records and Richard Carpenter came down on Haynes.
* [more inside]
The most vivid figure in Michael Gramaglia and Jim Fields's End of the Century was the least articulate and most archetypal of the Ramones: Johnny, the right-wing prole whose hard-ass sense of style the others nutballed and softened and accelerated and above all imitated. ... Exciting and absolutely right though their '70s sets always were, the film establishes that they kept the faith live till the end, lifted by Joey's goofy dedication and powered by the chords Johnny thrashed out like they were why he was alive. As unyielding in his aesthetic principles as he was in everything else, this reactionary was an avant-gardist in spite of himself. - Robert Christgau
Wired takes a look at some pop culture legends that elude fans and collectors.
The annotated scores for [*and Filmtracks.com's reviews of] Howard Shore's soundtracks to The Fellowship of the Ring*, The Two Towers*, and The Return of the King*
Two and a half years ago, we explored the early history of Cartoon Network... but it wasn't the only player in the youth television game. As a matter of fact, Fred Seibert -- the man responsible for the most inventive projects discussed in that post -- first stretched his creative legs at the network's truly venerable forerunner: Nickelodeon. Founded as Pinwheel, a six-hour block on Warner Cable's innovative QUBE system, this humble channel struggled for years before Seibert's innovative branding work transformed it into a national icon and capstone of a media empire. Much has changed since then, from the mascots and game shows to the versatile orange "splat." But starting tonight in response to popular demand, the network is looking back with a summer programming block dedicated to the greatest hits of the 1990s, including Hey Arnold!, Rocko's Modern Life, The Adventures of Pete & Pete, The Ren & Stimpy Show, Double Dare, Are You Afraid of the Dark?, Legends of the Hidden Temple, and All That. To celebrate, look inside for the complete story of the early days of the network that incensed the religious right, brought doo-wop to television, and slimed a million fans -- the golden age of Nickelodeon. (warning: monster post inside) [more inside]
The Soundworks Collection gives a behind-the-scenes look into the work of talented sound teams working on feature films, soundtrack scoring, and video games with a compilation of exclusive interviews, awards shows / event panel coverage and sound stage / studio room videos. Vimeo Channel. YouTube Channel. [more inside]
Part 3 of the Everything is a Remix video series has been released, by New York filmmaker Kirby Ferguson. Previously on MeFi. See the entire series on Vimeo: Parts One, Two and Three. (YouTube versions and transcripts inside.) Official Site. [more inside]
FILMAGE: The Story of DESCENDENTS / ALL is an upcoming feature-length documentary about pop-punk pioneers Descendents. The makers are looking for photos, video, and film of the band. The band's first album, 1982's Milo Goes To College, was an instant classic with songs like I'm Not A Loser. Various splits, reformations, and line-up changes followed. Their most reformation in 2010 included sets at Australia's No Sleep Till festival (full Sydney set at Moshcam). Classic Desendents: I'm The One. Merican. Hope.
The AV Club feature Gateways to Geekery is all about the best places to start on some of pop culture's most complex and nuanced artists and genres, including Randy Newman, The Who, Monty Python, steampunk, Sherlock Holmes and 90 others. [more inside]
The Sad, Beautiful Fact That We're All Going To Miss Almost Everything. The vast majority of the world's books, music, films, television and art, you will never see. It's just numbers.
Prickly, idiosyncractic and unashamedly pro-Goldsmith, Christian Clemmensen has reviewed modern movie scores at Filmtracks since 1996.
Whisperlude, a new song based on Alfonso Cuarón’s 1995 Academy Award-nominated retelling of Frances Hodgson Burnett’s A Little Princess. (from Pogo, a Metafilter favorite previously posted here, here, and here)
During the show's history Mystery Science Theater did many musical bits. Topless Robot recently linked to the "13 best" Mystery Science Theater 3000 songs. It's not a bad list, although there are some notable exclusions. About those, click through.... [more inside]
Jerry Fielding (1922-1980) was one of cinema's most distinctive voices in the 1960s and especially '70s, the perfect musical complement to the films of Sam Peckinpah*, Michael Winner, Clint Eastwood and others. His scores are marked by modernism and intricate orchestrations but also a poetic beauty and intensity—an appropriate accompaniment to the decade's strange and often sad (but never sentimental) criminals and antiheroes, be they in westerns (The Wild Bunch) or crime films. He was, however, capable of numerous styles (he was a former Vegas bandleader), and wrote a great number of scores (from sticoms to dramas to sci-fi) for television. - Film Score Monthly [more inside]
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