Music For Your Tape Recorder

I know. You don't need to tell me. Suffice to say I've not been motivated to write much this year and when it came to putting my playlist together it's apparent I haven't listened to that much music either. You can imagine I was dissuaded from bothering with that in mind when I realised I'd only left a few hours of 2014 to write it up. Here I am, though, two weeks later in what is my 10th year of blogging with a sense of obligation to drive myself to produce something. It may not be a long list this year (the shortest duration in the nine years I've done this), but there is plenty I want to get off my chest regarding some releases.

Music For Your Tape Recorder

This year started slowly as Lone's Galaxy Garden was still in hard rotation - or whatever technical phrase applies in the iTunes era. In the latter half of last year it suppressed everything else and continued to do so into the first half of 2013. 'Dream Girl/Sky Surfer' overtook 'Roygbiv' as my most listened song and is now beyond five hundred plays. Last time I checked I was listening to it twice a day on average, though I've slowed down a lot since it passed that mark. The rest of the album isn't far behind. Lone released a standalone single in June which you can see only six places into the list, giving you an idea of how little anything else caught my ear. It's a slightly shorter annual list than usual and probably more padded than I'd prefer, but that doesn't mean that there's little to talk about.

Police and Thieves

GTA San Andreas, promo artwork, 2004

It would be hard not to notice the landing of a new instalment of Grand Theft Auto if only because the media becomes saturated with moral panic articles on each launch. Not that this bothers Rockstar or Take 2 Interactive who make millions either way. As they say, any publicity is good publicity and it all feeds into the hype. However, in this day and age of aggressive promotion of entertainment products in which the first act of the script of an upcoming episode of an animated show is read by the voice artists at Comic-con and blockbuster films have almost year long mysterious viral marketing campaigns to engage fans, sometimes the meal is overcooked (see Prometheus, The Dark Knight Rises, et al). The first trailer for GTA V was released way back in November 2011 - almost two years before release - and since then we've been drip fed screenshots and cryptic twitter feeds with the expectation that the pressure will have risen so much that people will necessarily cream their pants the moment they so much as touch their copy. It might sound like I'm setting up for a scathing review. That is not the case - let's just not pretend this is the perfect game. Spoilers follow.

The Stars Our Destination

Star Trek Into Darkness poster

Hard to believe it's just gone ten years since Star Trek: Nemesis was released. 2002 was expected to be a great year for sci-fi: The Matrix sequels, a Red Dwarf film, a Hitchhiker's Guide to the Galaxy film, and the aforementioned Star Trek X. In the end only Nemesis made it out that year alongside the equally poor Die Another Day. Shatner's diabolical Final Frontier narrowly avoided being responsible for the death of the Trek film franchise in 1989 - sadly the responsibility for achieving just that thirteen years later fell on The Next Generation cast. Interesting it should happen in December 2002 at the exact time Die Another Day was doing the same for Bond. As with my Skyfall review, discussing Star Trek into Darkness requires discussing my experiences with Trek. Be warned, it's going to take a few thousand words before I get to the review...

The Exposition Song (Early Days)

Part One of Two.

Buffy Summers, 20th Century Fox

Sometimes you're just born at the right time, and sometimes not - like that quote I seem to cite too often about being too old for the sexual revolution. For me, it was more a case of international broadcasting rights delaying the UK terrestrial première of Buffy The Vampire Slayer just long enough to be relevant. Hard to believe it's fourteen years since Buffy débuted on BBC2 on December 30th 1998, when the US was already midway through Season 3. Yet, if it had been just two years earlier I don't think it would have resonated with me. It would be reasonable to assume age would have no bearing on the enjoyment of a fantasy-action show about a blonde Californian girl slaying vampires, but the subtext of the entire show was about being a teenager going through high school and I was in my first year of secondary school. Some people watched it for neither the pretext nor the subtext, but just to see Sarah Michelle Gellar. I didn't, because that's what Cruel Intentions was for. I actually missed the first two episodes, however after seeing the third episode on the 13th of January it became a religious part of my Wednesday nights. Sometimes I pity the teenagers today living in a world of abstinent, sparkling vampires that don't believe in sex before marriage. The great thing about inexpensive and compact home video (anything since VHS tape) is that a large part of the history of broadcast entertainment is available to the modern viewer. So someone please tie them down and break out the Buffy boxset.

Like a Rainy Day's Earth Won't Sit Still, Sliding on Down a Hill

Cropped screen capture of Jurassic Park (1993)

Christmas television isn't what it was in my day! I remember the terrestrial premières of blockbusters on BBC1 being a focal point of the day. In 1996 the film of the evening was Jurassic Park, an all time favourite as a consequence of being the first non-animation I can recall seeing as a child in the cinema. Now it's all Dreamworks computer-animations that have those annoying angular graphics that make it look like Pixar on the cheap. Bah. Humbug. Well thank the Lord for ITV2, as not a day goes by without them broadcasting Jurassic Park or Back to the Future. Actually, make that six days. I noticed they broadcast the exact same double bill (JP, The Bourne Identity) at the exact same time not a week later. I've well and truly lost count of how many times I've seen said dinosaur film, though some would say clearly too much as I did a special Christmas Day live one-man overdub of almost the entirety of the film (and got told to shut up). The fact that I know the film so well as to quote entire exchanges of dialogue made me aware of ITV2's clunky editing.

Panic (Hang the DJ)

But the waters... receded

Sextant (NOAA), Public Domain

Predictions of the end-times are likely as old as creation myths as likely as old as history itself. The invention of cinema enabled the depiction of the ultimate dramatic scenario and so it began. The disaster movie as a genre emerged in the seventies (Towering Inferno, et al) as classically narrative compared to their modern antecedents - almost all stories are of characters facing an obstacle they must overcome; in the above case a fire in a skyscraper. They boasted highly popular actors in the lead roles which, like any other film of the era, drew audiences. After Jurassic Park demonstrated the sky was the limit with computer generated imagery the floodgates opened (a metaphor that could actually make an interesting post-modern disaster film about the effect of CGI on film-making). Now there was nothing that could not be depicted. A lot of the modern disaster films since the mid 90s can be attributed to one Roland Emmerich and his little known 1996 film Independence Day. Inevitably someone will chime in with the old adage about how any critique of 'low-brow' movies is a comment on how the critic cannot turn their brain off and just enjoy it. I enjoy Independence Day and I happen to own The Day After Tomorrow (which I last watched on October 30th) despite its ludicrous implausibility. I even have a Steven Seagal movie (Under Siege 2) amongst a home video collection that includes a number of foreign language films, but the film 2012 (dir. Roland Emmerich) is just bad. Not enjoyably bad... and you already know why I'd bring that up three years after release.

Martinis, Girls, and Guns

SIS (MI6) Building, radim99, 2007

It seems these days that blockbusters don't just sink or swim anymore, but get stuck in a critical limbo. This year alone there have been three films that come to mind that have had mixed reception: (the pretentious and insubstantial) Prometheus, The Dark Knight Rises, and most recently Skyfall. I cannot discuss the new Bond film without first covering a little bit of (personal) history of the series. A little bit, or maybe seven hundred words...

You Spin Me Right Round

Rear cover art (G, Garbage, 1995)

The final track of the album fades out. The laser assembly returns to its starting position with a whir and the disc slows to a halt. All that remains is the faint hum of the speakers. The disc ejects and you place it back in the case, glancing at the artwork before slotting it back into the rack.

The older generations oft pine for the crackle of vinyl and the large elaborate cover art, and I sympathise as someone who has undergone the rite of digging through parents' vinyl collection. Our attitudes to distribution media are more tied up with memory and nostalgia than any qualitative superiority as some audio enthusiasts are always attempting to prove. Whilst technological progress enables me to carry one and a half thousand songs on my old 8GB iPod Nano, which is a hell of a lot more than the 8 track decks my Dad remembers, my own musical experiences in the 90s bind me to the compact disc.

Lose Control

Star Wars Collection, Brian Hathcock, 2007

When I was a child in the early 90s, Star Wars seemed to have faded from view. It was actually Muppet Babies that introduced me to it, though I had no idea at the time what it was they were parodying. It wasn't until one of my uncles who grew up with Star Wars got hold of a widescreen VHS of A New Hope that my brother and I were properly presented with the phenomenon. A year or two later the Special Editions were in cinemas and I recall a children's programme looking at the digital insertion of Jabba the Hutt into Episode IV. At the time I thought this was a good thing, bringing it closer to what was intended but couldn't be technologically achieved in 1976. If what we got was a compromised realisation of Lucas' vision then how could we not welcome improvement? But the changes kept coming, and not just the little visual and audio retouches that go unnoticed. Fans of a certain calibre are acutely aware of all the alterations that Lucas has made over the years, and they will certainly be aware of the incongruous modification to Return of the Jedi that will be imposed with the forthcoming Blu-Ray® release.

When You Walk Through Me

I wanted to see Source Code last week in the cinema but I was ill and I was becoming desperate to avoid spoilers so I viewed it by other means (you know the means I mean). Make note that I will of course pre-order the DVD because I liked the film and wish to ensure more like it get made.

'Inception meets Groundhog Day'. I hate these descriptions that paint everything as a mashup of two existing works. That's not to say that there aren't similarities to other works, which I'll address in the spoiler section, but these comparisons used to market films to preconfigured audiences make little sense under any kind of scrutiny.

The Times They Are...

The Simpsons 138th Episode Spectacular, 1995

...a-becoming quite different. One of the advantages of a long running television series is having the time to fully explore and develop the characters. One of the disadvantages of a popular long running television series is that it always passes its peak. Actually, that's a subjective call on my part and that of vocal fans. Objectively, a long running show changes.

The generally agreed point at which The Simpsons faltered lies between Seasons 9 and 10 (roughly 1998). By that measure the show, now in its twenty-second season, has been poorly-written for over half its existence. The common argument against criticism of the latter seasons is that viewers have become overly-familiar with the early episodes through heavy syndication/repeats. As the "bad" now outnumber the golden age ones, that can no longer be true. They can still put out what are good episodes, but they're thin on the ground. The decline must be borne from a change within the writing staff as it is the tone of the episodes that together define the series. In particular, certain writers may not have been familiar with the tone or the show at all.

In One Ear

Don't stop....no pares....., spanishgirl_in_oxford, 2006

The Spelling Bee is a curious Anglophone phenomenon. The idea of spelling out words as an academic competition is unheard of in countries that lack byzantine orthographies. I'm a long time proponent of spelling reform in English and also a long time hater of people who cannot or will not spell correctly. If I have to go back to the start and reread your sentence because you're not bothered about spelling, then I'm not going to read whatever you had to say no matter how interesting or profound it was since you obviously don't care enough to effectively communicate it. Perhaps a reform will come if we embrace the yoof's demotic - a silent letter cull at the expense of some 'sk8r boi' monstrosities and grammatical malformations.

Introductory Nomenclature

Today is World Blog Day. Unbelievably it's been four years since I last did this. Since I realised I no longer read any of the blogs I cited four years ago, and also Para deleted her blog a while back, I decided to link to the ones I read regularly.

Overdose Delusion

Screenshot from Inception, 2010

I said I'd write up an analysis of Inception after another viewing and I've now seen it thrice - twice on the big screen, and once on the small screen *cough*. I've already pre-ordered it. Here I've tried to reign in my branching interpretations...

Dreams Never End

I really hate it when films are described as a cross between two renowned films. The cover of R-Point features a quote from 'Front Magazine': "Blair Witch meets Full Metal Jacket" - not even close. Inception has been summarised as The Matrix meets Ocean's Eleven.

I'm a DJ and I've Got Believers

cue, danmachold, 2005

A few weeks back I was in the barber's and I was watching BBC News in the mirror - I think this was the same day Gordon Brown stood down as PM. One of the employees then changed channel to the Radio 1 feed. I stopped listening to R1 at the end of 2003. As the Radio 1 Festival was around the corner, the presenter decided to play an "oldie" from years gone by. It was Avril Lavigne's 'Sk8er Boi'.

(Deeper Underground) I Get Nervous in the New York City Streets

9/11, marc_buehler/NBC, 2001

Yeah, again. After publishing my analysis of Cloverfield last month, I continued thinking about the film's relation to September 11th. What I have written below is really pushing the limits of the narrative as I highly doubt the producers, being American, are communicating the message that I think could be extracted from it.

»Spoilers Throughout«

In my previous analysis I argued Clover (the titular monster) was a personification of 9/11 and as such, the instigator of the character drama. The origins, motivations, and purpose of Clover are ultimately unknown. The only clue is the brief shot of an object strike the ocean in the final scene before the credits (the promotional material offers a scant back-story). Despite Rob's camcorder perfectly capturing that brief glimpse, Rob and Liz are entirely unaware of it. When Clover starts wrecking New York, no-one understands what is going-on nor why it is happening.

(Deeper Underground) But I Got To Go Much Deeper

»Spoilers From The Outset«

B0000609, ghackettny, 2001

Looking for something to watch on Sunday night, I put on Cloverfield again. Last year I wrote a short review after first seeing it, in which I thought it was underrated. As I was munching through a packet of crisps the Brooklyn Bridge collapses killing Jason and many unknown others. People are screaming names and fleeing in abject terror, and I suddenly felt uncomfortable. Indeed, some reviews criticised it as September 11th pornography - making entertainment out of tragedy as the horror genre does with fear. In my mini review I saw it as a contemporary framing of the monster/disaster movie genre but lacking depth or social commentary. That unease prompted me to question whether it really was without merit, leading me to watch it yet again on Thursday.

Prior to 2001, the most destructive act of terrorism in the US was the Oklahoma City bombing in 1995 - as referenced in the opening scenes of The X-Files Movie (1998). That incident is well known but largely restricted to that city in terms of impact. September 11th, on the other hand, was a game-changer, broadcast live as it unfolded - its effects on American culture are profound and long-lasting. Before it, the American public was only familiar with terrorism on the evening news. It had never struck home on such a large scale. With the thousands of people who died on that day, how could Hollywood ever make a disaster movie again? To make a popcorn disaster movie with a massive body count would be grossly insensitive.

Somebody Up There Likes You

Frakk em all!, Don Solo, 2009

As someone raised on Star Trek I've been reluctant to leave the comfort of the Roddenberry universe. Perhaps because Trek is the oldest standard for serious (by 60s standards) sci-fi television, all other shows come across as re-costumed copies. I was too young to see The Next Generation during its original run, but BBC2's tea-time repeats in the 90s made me a fan. When Deep Space Nine was imported I was probably too young to appreciate its breaking of the Trek mould - war, questionable ethics, the Federation losing for once. I preferred Voyager at this point but as it went on I became convinced Star Trek was losing steam. Voyager in particular was either repeating itself or TNG or pulling a deus ex machina every time they walked into the Borg. Despite that, the Doctor was and still is a great character, but his story arcs with Seven of Nine (and her own character development) would have been so much better if Seven wasn't visually the epitome of fan service.