From the booklet of the Soundtrack-collection: “The Tarantino Connection“
“One of the things I do when I am starting a movie, when I’m writing a movie or when I have an idea for a film; is, I go through my record collection and just start playing songs, trying to find the personality of the movie, find the spirit of the movie. Then “boom” eventually I’ll hit one, two or three songs“ or one song in particular, oh this will be a great opening credit song.
Because to me the opening credits are very important because thats the only mood time that most movies give themselves. A cool credit sequence and the music that plays in front of it, or note played, or any music“ whatever you decide to do“ that sets the tone for the movie thats important for you.
So Im always trying to find what the right opening or closing credit should be early on when Im just even thinking about the story. Once I find it that really kind of triggers me in to what the personality of the piece should be what the rhythm of this piece should be.
You dont even have to use music it could just be silence, all right! But thats important, that, in some ways is like the rhythm and more or less the personality that youre trying to project in this film.
Having “Misirlou” as your opening credits is just so intense it just says “you are watching an epic, you are watching this big old movie just sit back”. Its so loud and blearing at you, a gauntlet is thrown down that the movie has to live up to; its like saying “We’re big!”.
Thats one of the things about using music in movies thats so cool, is the fact that if you do it right, if you use the right song, in the right scene; really when you take songs and put them in a sequence in a movie right, its about as cinematic a thing as you can do. You are really doing what movies do better than any other art form; it really works in this viscerat, emotional, cinematic way thats just really special.
And when you do it right and you hit it right then the effect is you can never really hear this song again without thinking about that image from the movie. I dont know if Gerry Rafferty necessarily appreciated the connotations that I brought to “Stuck in the middle with you” there is a good chance he didnt….’
The theft via cell phone hacking of countless nude photos, real or doctored, of various female celebrities is not a “scandal” to be mocked and teased about as if it were a public wardrobe malfunction or a gaffe. It should not be treated with quippy sub-headlines like “What Would Katniss do?” It is a crime that has turned the entire online community into potential peeping Toms with little-to-no accountability for the consumers of said stolen property/invasion of privacy. This is clearly a violation. It is a crime of theft with the intent to exploit its victims as punishment for the unpardonable sin of being female. A woman, be she in the public eye or a private citizen, has a right and privilege to take photos of herself for whatever reason she chooses. A woman, be she a celebrity or a regular citizen, has the right to store them in the same manner as her male peers without the presumption that they will be stolen by an act of cyber hackery. And if said photos exist and said photos are stolen, the shame of that act should be, nay must be, wholly on the perpetrator of said crime.
It is not the responsibility of our female population to take “ X” number of steps to lessen the chance that a member of our male population will engage in untoward conduct towards them, be it assault or street harassment. As a society, we deal with violence, especially sexual violence, against women in much the wrongheaded manner that we have fought the war on drugs. We focus on the supply-side, with an emphasis on the things that women must do to “stay safe” instead of focusing on lessening mens’ “demand” to view women as purely a disposable commodity. In short, we emphasize how women can prevent being assaulted instead of telling men and boys not to assault women in the first place. Instead of condemning those who would steal the private photographs and publish them online for all to see, we condemn or belittle the women who chose to create said private photographs in the first place. Ms. Lawrence, Ms. Winstead, and the like have absolutely nothing to apologize for. They have not been scandalized, but rather victimized.
The Blitz Kids were a group of young people who frequented the weekly Blitz club-night in Covent Garden, London in 1979-80, and are credited with launching the New Romantic subcultural movement.
The Blitz Kids Documentary from Videodrome Discothèque on Vimeo.
Playboy: All right, let’s start with the most basic question there is: Are you a religious man? Do you believe in God?
Sinatra: Well, that’ll do for openers. I think I can sum up my religious feelings in a couple of paragraphs. First: I believe in you and me. I’m like Albert Schweitzer and Bertrand Russell and Albert Einstein in that I have a respect for life — in any form. I believe in nature, in the birds, the sea, the sky, in everything I can see or that there is real evidence for. If these things are what you mean by God, then I believe in God. But I don’t believe in a personal God to whom I look for comfort or for a natural on the next roll of the dice. I’m not unmindful of man’s seeming need for faith; I’m for anything that gets you through the night, be it prayer, tranquilizers or a bottle of Jack Daniel’s. But to me religion is a deeply personal thing in which man and God go it alone together, without the witch doctor in the middle. The witch doctor tries to convince us that we have to ask God for help, to spell out to him what we need, even to bribe him with prayer or cash on the line. Well, I believe that God knows what each of us wants and needs. It’s not necessary for us to make it to church on Sunday to reach Him. You can find Him anyplace. And if that sounds heretical, my source is pretty good: Matthew, Five to Seven, The Sermon on the Mount.
Playboy: You haven’t found any answers for yourself in organized religion?
Sinatra: There are things about organized religion which I resent. Christ is revered as the Prince of Peace, but more blood has been shed in His name than any other figure in history. You show me one step forward in the name of religion and I’ll show you a hundred retrogressions. Remember, they were men of God who destroyed the educational treasures at Alexandria, who perpetrated the Inquisition in Spain, who burned the witches at Salem. Over 25,000 organized religions flourish on this planet, but the followers of each think all the others are miserably misguided and probably evil as well. In India they worship white cows, monkeys and a dip in the Ganges. The Moslems accept slavery and prepare for Allah, who promises wine and revirginated women. And witch doctors aren’t just in Africa. If you look in the L.A. papers of a Sunday morning, you’ll see the local variety advertising their wares like suits with two pairs of pants.
Playboy: Hasn’t religious faith just as often served as a civilizing influence?
Sinatra: Remember that leering, cursing lynch mob in Little Rock reviling a meek, innocent little 12-year-old Negro girl as she tried to enroll in public school? Weren’t they — or most of them — devout churchgoers? I detest the two-faced who pretend liberality but are practiced bigots in their own mean little spheres. I didn’t tell my daughter whom to marry, but I’d have broken her back if she had had big eyes for a bigot. As I see it, man is a product of his conditioning, and the social forces which mold his morality and conduct — including racial prejudice — are influenced more by material things like food and economic necessities than by the fear and awe and bigotry generated by the high priests of commercialized superstition. Now don’t get me wrong. I’m for decency — period. I’m for anything and everything that bodes love and consideration for my fellow man. But when lip service to some mysterious deity permits bestiality on Wednesday and absolution on Sunday — cash me out.
Playboy: But aren’t such spiritual hypocrites in a minority? Aren’t most Americans fairly consistent in their conduct within the precepts of religious doctrine?
Sinatra: I’ve got no quarrel with men of decency at any level. But I can’t believe that decency stems only from religion. And I can’t help wondering how many public figures make avowals of religious faith to maintain an aura of respectability. Our civilization, such as it is, was shaped by religion, and the men who aspire to public office anyplace in the free world must make obeisance to God or risk immediate opprobrium. Our press accurately reflects the religious nature of our society, but you’ll notice that it also carries the articles and advertisements of astrology and hokey Elmer Gantry revivalists. We in America pride ourselves on freedom of the press, but every day I see, and so do you, this kind of dishonesty and distortion not only in this area but in reporting — about guys like me, for instance, which is of minor importance except to me; but also in reporting world news. How can a free people make decisions without facts? If the press reports world news as they report about me, we’re in trouble.
Playboy: Are you saying that . . .
Sinatra: No, wait, let me finish. Have you thought of the chance I’m taking by speaking out this way? Can you imagine the deluge of crank letters, curses, threats and obscenities I’ll receive after these remarks gain general circulation? Worse, the boycott of my records, my films, maybe a picket line at my opening at the Sands. Why? Because I’ve dared to say that love and decency are not necessarily concomitants of religious fervor.
Playboy: If you think you’re stepping over the line, offending your public or perhaps risking economic suicide, shall we cut this off now, erase the tape and start over along more antiseptic lines?
Sinatra: No, let’s let it run. I’ve thought this way for years, ached to say these things. Whom have I harmed by what I’ve said? What moral defection have I suggested? No, I don’t want to chicken out now. Come on, pal, the clock’s running.
Via Sinatra Family
Have you let go of any disappointment you had about the original disagreement with [the Beatles] in 1962? Is there any lingering bitterness there?
There never was any [bitterness]. Bitterness is a word the media picked up. There was anger and there was resentment because of what happened and the way it happened, because of the way I contributed to the band, but bitterness, no.
It’s like anything else, if you carry it with you, you’re going to end up a bitter and twisted old git. And there’s no need for that. I’ve enjoyed life. There came a time when I was like “Fine. It’s not about thinking about what happened yesterday, it’s about today and tomorrow.” And I think once you come to terms about yourself, then you realize that there’s so much more that your future holds for you, as opposed to your past, that you’re striving for.
My life since then had ups and downs; it hasn’t been a perfect life. But when I look back on it now, I wouldn’t change it. I’m happy, I’m healthy, I have a great band which tours the world. I’m a great family man, I love meeting people, I love laughing and joking with them. I’m still in show business, which I didn’t expect to be.
But maybe my karma; it’s a word we use, being born out east [Author’s note: Best was born in British India, and lived there until the age of 5]. Karma’s a word we use an awful lot. Maybe my karma turned ‘round and said “Your time will come some time in the future.”
I have no complaints, I’ve enjoyed life. Wouldn’t change anything.
Aphex Twin buys a shedload of new music everyday, mainly from the UK-based online music store Juno. “I buy ridiculous amounts of files,” he told us. “I always go to that thing, ‘Listen to the last eight weeks of whatever.’ And it’s all those billions of genres, like Scouse house. There’s actually better music now than ever, that’s ever existed before in my life. It’s all kind of good listening stuff—stuff to play in the car—[but] not so much kicking stuff out there.”
Via The Fader
Being on tour to celebrate the 20th anniversary of their hit album Smash, the Offspring can’t help but reminisce about their lean and green days in the ’90s, when they were writing songs for what would surprisingly become the best-selling independent-label album of all time. Smash, released on Epitaph Records in 1994, sold 6 million copies in the U.S. and another 5 million across the world.
“It’s not like we were systematically putting together this hit punk record,” recalls guitarist Kevin John “Noodles” Wasserman. “We did the whole thing on the fly at Track Studio. And we didn’t have much money, so we worked out a deal with the studio where we could only use the place in the afternoons and late evenings when no one else was there. We got kicked out when someone came in who was paying full price, and we’d have to wait until they were done to come back.”
How do you know you’re real? Is existence all just a big dream? Has some mad scientist duped us into simply believing that we exist? James Zucker investigates all of these questions (and more) in this mind-boggling tribute to René Descartes’s “Meditations on First Philosophy.”
I’m sure the main reason why phone retailer liGo created a fantastic interactive history that covers the evolution of headphones is to get people like me excited and visit their website – it worked, and they should be congratulated on creating this wondering piece. The history ranges 120 years, starting in the 1890s and moving through the decades until the 2010s. You can even play music appropriate for the era, too.
Do you see a younger version of yourself as a character to play (when on stage?)
The way I’ve been trained as a singer is a method called bel canto, where you don’t use notes or scales. You use the emotion of the characters. The rule of bel canto is that you don’t sing a song you can’t emotionally identify with. If as a method singer I cease to find anything inside myself that I can use in a song, then I don’t perform that song anymore. But that hasn’t happened very often. For example, I’ve been singing “Nothing Compares 2 U” for 25 years, and I’m always able to find something every night. I’ve grown beyond using my own experiences. Now I imagine I’m other people talking to other people. I know I sound mental, but that’s what I have to do. It will vary from night to night, but I usually have a plan in my head as to who I’m imagining I am and who I’m talking to.
Does that approach present difficulties when you’re working on an album and you can’t find the emotional hook for a particular song?
You would find it with new songs because they’re always exciting and fresh. If you came across a difficulty, it would be with older songs, which aren’t really character songs. I didn’t actually get around to writing character songs until that last album. Up until that point, all the songs I wrote were extremely autobiographical, so there was always something I could identify with. They might mean something slightly different to me now that I’ve matured a bit, but it’s still me. On my first album there are a couple of songs that I can’t do anymore. One is called “Drink Before the War” and the other is “Never Get Old.” I love those songs, but I wrote them when I was 15 and pissed off at my headmaster. I can’t identify with them anymore. Also, “Troy.” I don’t perform that song because I don’t feel that anger anymore. I can’t act it. I wrote those songs when I was a teenager and can’t identify with them at the age of 47.