Rock Guitarsundo wrote:
One of the many reasons for doing this retrospective was to be able to showcase this insanely misjudged movie for what it is, a cracked masterpiece soon to rise above its detractors’ accusations of “small minded American conservatism” or “liberal boomers’ wet dreams”, to reveal a film of impeccable craft and down right nastiness. Just take a look at any interview with Zemeckis during the awards season rush of this movie - the guy looks positively confused as to the reception of this movie. Not that it didn’t have the heart and Hollywoodisms necessary to sweep the award season and box office, but because the film is far more than the reputation preceding it, an unfortunate indictment of an entire generation’s passive engagement with the outside world and the people around them. Forrest exists as a proxy for the U.S. and its citizens, blindly stumbling into situation after situation, unknowingly taking credit for things he had nothing to do with, as well as benefiting financially in a major way, from the devastating destruction of an entire black shrimping operation in New Orleans, to taking credit for Elvis’ slutty swagger (we see you Marty McFly). And yet, Forrest never seems to notice or care about this, placing his faith in God and country, rather than recognizing his highly privileged position in society, all despite his “simple-mindedness”. FORREST GUMP is linked through a long line of Zemeckis-lead satires, yet it finds the director reaching for a new, classically-styled lens in which to capture the madness on screen. The film sits perfectly at the midway point between the capping off of his more manic comedies with DEATH BECOMES HER, and kicking off the path he has continued to journey down: prestige-level filmmaking more than capable of garnering a slew of awards,, yet one that also disguises a more complicated and bitter center than most movies made throughout the last several decades.
BLACK..... coffee in bedI don’t remember reading this review. But I remember thinking what the critic wrote about the song when I’d hear it over the speakers at my job. If he did mean it any other way then why is the music so jaunty and carefree? I mean, the melody is a bit down, but not in the ‘i just lost something I can never have again’ kinda way, more in the ‘damn, now I gotta goto the other record store to get it’ kinda way. His tone sounds vaguely apathetic, he’s blaming his generation but doesn’t seem to want to rise up himself. Hence, ‘We’re’ waiting. If he was serious he wouldn’t consider himself part of the group. The music is also a weird choice if he was serious. It’s post Grateful Dead jammy blues rock but it rides major chords. Major chords are typically associated with happiness, triumph, etc. Minor or dissonant chords would’ve sold the admonishment better.undo wrote:
I don't really want to hear this song ever again, but were they being too hard on him?
Is it possible that the song is meant as a self-own, an indictment of his/our generation? If it was released today, I think it would be really tough to hear it any other way.
I had a lot more thoughts about this as it was playing over the PA in the cafeteria but over the course of the 5 minutes it took me to dig up that old review and realize my screenshot of it, I forgot what it was.
Sentimental dogshit.. or is it?
Sunny.Rock Guitars
Little Neddy goes to war wrote:Jonathan Richman was about my age when he made I, Jonathan.
BGwaves wrote:Autumn sweater and I Think I’m in Love share a similar groove from a similar time in indie rock. Was this groove a thing? Are there other songs from this era that rode the bass and drums and let the other instruments paint around the edges? As I was typing I thought of Natural One, although it’s groove seems more influenced by breakbeat hip hop.
undo wrote:Is it okay if I just don't care about Bad Bunny? Who is apparently the consensus most important musician alive right now?
Maybe it's lazy or shallow of me but the language barrier is just too much for me to overcome, I'm sorry.
But can anyone who listens to Sigur Ros really make such a claim?
BLACK..... coffee in bedBLACK..... coffee in bedBLACK..... coffee in bedLeeds once talked about the music like it was therapy, telling interviewers he had taken to making ambient instead of his usual off-kilter house so he had something to listen to on stressful flights between gigs. “I kind of put my foot in my mouth with that,” he says now. “I definitely said that, how it was helping me when I was traveling, but now that shit’s like the bane of my existence.” He never intended for the album to be some zen, chillout soundtrack. “That’s great, if people are enjoying the record in that way… And of course music is gonna bring some level of comfort to people, I mean I think that’s what it does. But someone’s comfort record could be fucking Cannibal Corpse or something like that. It doesn’t have to be like Brian Eno.”
It seemed like the more acclaimed Huerco S became, the more Leeds distanced himself from the project. Did the ambient-music-as-therapy cliche put him off? “I mean that’s like the ambient that I really despise,” he says. “There was an article in the Guardian talking about the ambient resurgence and it was like ‘Huerco S, ambient for the flat white generation’… It really made me step back and… I don’t know, ambient music has just become like ‘beats to chill and study to.’ It’s like productivity music, capitalist music. It’s non-intrusive, it doesn’t get in your way, like you can still work your job. It kinda makes me cringe a bit. And maybe I feel responsible for that…”
Rock GuitarsSunny.damo suzuki wrote:I was making dinner today and my wife decided to help. She asked Alexa to play Billie Joel.
Great songwriting. However it brought to my mind that time on the SOMB when Billie Joel, Bruce Springsteen and Wilco were like top rated in the 100 greatest records poll.
That was the whitest record list.
My wife is a jew.
BGwaves wrote:I’m tired of all the ‘corporate ambient’ think pieces. You know what else is formulaic? EVERYTHING! Sometimes, I think about how I like ska but I wish they would get rid of the up stroke, it’s SOOOO formulaic! I mean, every band uses the up stroke, like, they think it’s what makes ska, ska, or something.
Look, I get it, and I believe the writers hearts are in the right place. But to think that somehow the corporations are the ones who figured out the formula… Jesus. They’re just doing what corporations always do, picking up on a trend and monetizing it. If you don’t wanna support the corporate ambient, just don’t buy it. Trust me, they will pack up and leave town eventually, just like they always do.
Little Neddy goes to war wrote:Is the band She Wants Revenge any good? Every time their Joy Division wannabe goth club pop hit “tear you apart” shows up in a tv show (seemingly this is in every single tv show), I Shazam it with the assumption it’s a classic 1980s thing.
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