A decade on, the Coen brothers' woefully underrated
O Brother, Where Art Thou? [alt] is remembered for
a lot of things: its sun-drenched, sepia-rich
cinematography (a pioneer of
digital color grading), its
whimsical humor,
fluid vernacular, and
many subtle references to Homer's
Odyssey. But one part of its legacy truly stands out:
the music.
Assembled by
T-Bone Burnett, the soundtrack is a cornucopia of American folk music, exhibiting everything from
cheery ballads and
angelic hymns to
wistful blues and
chain-gang anthems. Woven into the plot of the film through radio and live performances, the songs lent the story a
heartfelt, homespun feel that echoed its cultural heritage,
a paean and uchronia of the Old South.
Though the multiplatinum album was recently
reissued, the movie's medley is best heard via famed documentarian
D. A. Pennebaker's
Down from the Mountain, an
extraordinary yet
intimate concert film focused on a night of live music by the soundtrack's stars (among them
Gillian Welch,
Emmylou Harris,
Chris Thomas King, bluegrass legend
Dr. Ralph Stanley) and wryly hosted by
John Hartford, an accomplished
fiddler,
riverboat captain, and
raconteur whose struggle with terminal cancer made this his last major performance. The film is free in its entirety on
Hulu and
YouTube -- click inside for individual clips, song links, and breakdowns of
the set list's fascinating history.
[more inside]
posted by Rhaomi
on Dec 22, 2011 -
107 comments
Building and flying free flight model airplanes is a pastime so obscure it doesn't even register on the geek heirarchy. But in the period between Lindberg's flight across the Atlantic until the start of the Second World War,
thousands of boys (and some girls)
around the
world succumbed to the allure of rubber,
lube, and
dope.
[more inside]
posted by gamera
on Aug 6, 2009 -
13 comments
Modern music software, by and large, is fantastic. It lets musicians create sequences of staggering complexity at the drop of a hat, work simultaneously and easily with both MIDI and digital data, and instantly subject audio to the kind of torturous manipulation that would have taken hours, or even days, with a razorblade and tape.
But do you ever really covet software in the same way that you covet hardware? Do you regard your music program with the same affection as your Moog Rogue or Fender Strat? Can something which exists only in a computer's virtual environment inspire the same pride of ownership as, say, that small silver box called a TB303 Bassline? If it's called Rebirth, maybe it can...
And now it lives again... for free
posted by bigmusic
on Sep 1, 2005 -
35 comments
