Spectrum Check

I’ve somewhat lost track of all the various assignments I’ve picked up for Spectrum Culture, but I’ve got a funny feeling that I’m going to be hit with a very busy week sometime soon. This week, I had only one full-length effort for the site, but I did my best to make it worthwhile, especially since I feel added pressure whenever I write on something that’s an established classic of cinematic erudition. Specifically, I wrote on the debut feature from Alain Resnais, which also happens to be the first real big-screen role for recent Oscar nominee Emmanuelle Riva. I also … Continue reading Spectrum Check

One for Friday: The Balancing Act, “A TV Guide in the Olduvai Gorge”

It’s been a little over a year since I finally secured a turntable after several years without, as a friend of mine once called the device, a vinyl-spinner. It was absolutely wonderful to track through the remainder of my record collection, often playing things that I figured (somewhat erroneously, as it turns out) were essentially entirely unattainable these days. Turns out, though, that the main appeal of having a turntable again is being able to shop for records again. I’m not referring to the new culture of 180 gram vinyl rapturous collecting (though my household does occasionally succumb to that … Continue reading One for Friday: The Balancing Act, “A TV Guide in the Olduvai Gorge”

Top 40 Smash Taps: “Give It to Me Baby” and “Cold Blooded”

These posts are about the songs that can accurately claim to crossed the key line of chart success, becoming Top 40 hits on Billboard, but just barely. Every song featured in this series peaked at number 40. “Give It to Me Baby” gave Rick James his second trip to the Billboard Top 40, following “You and I,” released in 1978. “Give it To Me Baby” was the first single from James’s 1981 album, Street Songs. A smash on the R&B charts, where it went all the way to the top, James had to settle for more modest crossover success, as … Continue reading Top 40 Smash Taps: “Give It to Me Baby” and “Cold Blooded”

There must have been a plague of them on the TV when I came home late

So last year, I took the occasion of the Emmy Award nominations announcement as cause to weigh in with my own list of the best of television, because if there’s one thing this digital space needs, it’s more lists. As is often the case, I only need to do it once to consider it a tradition, so here we go again. So using the same span of eligibility that the Emmys adopts, here’s my ten: #1 — Louie, season 3 (FX). The completely unique creation of Louis CK dipped a bit from the creative heights of season two, but expecting … Continue reading There must have been a plague of them on the TV when I came home late

Burton, Keaton, Preminger, Trank, Vidor

Chronicle (Josh Trank, 2012). Chronicle is good enough to almost–almost–redeem the increasingly tired found footage subgenre. This is in part due to the especially clever use of the footage, drawing it from a variety of sources rather than relying on one dedicated amateur documentarian who keeps the camera running no matter what level of craziness is happening (although the film inevitably must rely on that conceit more than is ideal). Security cameras, police car dashboard cams and other fully believable devices provide all the material that’s stitched together into a narrative. If physics-defying mayhem were happening outside of a upper … Continue reading Burton, Keaton, Preminger, Trank, Vidor

College Countdown: 90FM’s Top 90 of 1996, 56 and 55

56. Sublime, Sublime The third album from the Long Beach, California band Sublime was originally titled Killin’ It. Then lead singer Bradley Nowell died of a heroin overdose at the age of twenty-eight, approximately two months before the album’s release. The death came about a week after his wedding to Troy Dendekker and at the beginning of a tour intended to start building buzz for the band’s major label debut. MCA Records considered scrapping the album release altogether, but finally decided with the band that they would simply change the title, making it into an eponymous effort. Perhaps helped by … Continue reading College Countdown: 90FM’s Top 90 of 1996, 56 and 55

Spectrum Check

I pitched it with loads of words this week at Spectrum Culture. First off, I contributed a review of the new Smith Westerns album, an effort I’ve been sitting on for a while because of a shifting release date. I wish the extra time had helped me like the album more, but it wound up being one of those reviews where I really wanted to write, “Pretty dull, huh?” and move on. Too bad, as I liked their previous album quite a bit. Things were a little better for me on the film side, which is my main home on … Continue reading Spectrum Check

One for Friday: The Farm, “Groovy Train”

I could be retroactively ascribing insight to my band of college radio cohorts, but I do believe there were times when we knew–really knew–a band was going to be amount to little more than one great song. The Liverpudlian band the Farm had other successes besides “Groovy Train,” especially in their native land. Hell, the follow-up single, “All Together Now,” actually charted higher everywhere, including on the stateside Modern Rock lists. But even now I hear that track and I’m struck by the weary idle of its gleaming pop, like it was pulled together by a compromise committee in order … Continue reading One for Friday: The Farm, “Groovy Train”

Top Fifty Films of the 60s — Number Twenty-Five

#25 — The Man Who Shot Liberty Valance (John Ford, 1962) There are a plenty of genres and styles that once prospered in American cinema that have fallen out of favor or been modified to the point of being unrecognizable, but none of them inspired observers to see elegiacal profundity in the offerings from their twilight quite like the western. In part, that’s because westerns, no matter how sprightly and charmed, always seemed to carry a tint of the forlorn to them. By the times films were conveying tales of the Wild West, it was already a bygone era being … Continue reading Top Fifty Films of the 60s — Number Twenty-Five