Back From The Dead... Originally posted October 3, 2017
R.I.P. Tom Petty
Tom Petty & The Heartbreakers
WDR Studio L Köln, Germany June 14, 1977
AKA - Tom Petty - In The Fatherland
Excellent Soundboard @flac
A SILENT WAY RE-Boot
Tom Petty - lead vocals, guitars Mike Campbell - guitars galore, synthesizer Ron Blair - electric bass guitar Benmont Tench - piano, organ Stan Lynch - drums, percussion
Track List: 01 Surrender 02 Jaguar And The Thunderbird 03 American Girl 04 Fooled Again 05 Breakdown 06 Listen To Her Heart 07 Strangered In The Night 08 I Need To Know 09 Anything That's Rock 'n' Roll 10 Dog On The Run 11 Route 66 12 Shout
It’s one of the great interview moments in movies – David Lynch is being interviewed by David Lean for Bafta, and he says, “Believe it or not, Eraserhead is my most spiritual film“… Lean is intrigued by this, as any fan of Lynch’s work would be, so he says, “Elaborate on that,” and Lynch smiles and replies, simply, “No.”
It’s Lynch in his purest form, and anyone who believes that Lynch’s movies are pretentious or weird for the sake of being weird either only knows him from his reputation or is acting in bad faith… Sure, his work is challenging and surreal, even in more mainstream-facing works like The Elephant Man and the early seasons of Twin Peaks, but the idea that he’s this charlatan who makes weird shit to look cool and edgy without anything under the surface is just childish.
Lynch’s work, even at its most obtuse (hello Inland Empire!), is full of heart. There is always a message at their core, and he’s always trying to say something profound with his work. Sometimes for ill, you understand. Despite having arguably the best opening 40 minutes of any of Lynch’s films, Lost Highway descends into little more than a remake of Blue Velvet that’s even more bitter and aggressive than his 1986 neo-noir thriller.
However, the very last person who was ever going to tell you the ins and outs of what inspired the work of David Lynch was David Lynch himself. The reasons for this are multitudinous. Lynch was a famously private person, for one. He also wanted people to read their own interpretations into his films and embrace the subjective nature of art criticism. He might have made it for his own reasons, but a work of art is only heightened by what others read into it after all.
Which makes it all the stranger that for the DVD release of his masterpiece Mulholland Drive, Lynch curated a list of ten clues that could help unlock the film for interested viewers.
The 10 clues David Lynch gave for decoding Mulholland Drive:
Pay particular attention in the beginning of the film: at least two clues are revealed before the credits.
Notice appearances of the red lampshade.
Can you hear the title of the film that Adam Kesher is auditioning actresses for? Is it mentioned again?
An accident is a terrible event… notice the location of the accident.
Who gives a key, and why?
Notice the robe, the ashtray, the coffee cup.
What is felt, realised, and gathered at the club Silencio?
Did talent alone help Camilla?
Note the occurrences surrounding the man behind Winkies.
Where is Aunt Ruth?
On the one hand, it would be easy to disregard these as nothing more than PR fluff. While the theatre run of Mulholland Drive was fairly successful by Lynch’s standards, it was clear this was going to be a film that would thrive on DVD. Thus, having something like this for the DVD release would certainly drive sales. It seems to go so utterly against Lynch’s philosophy for decoding his movies that one could understand the feeling that, at best, this was some intern writing as Lynch, and, at worst, they were a troll job from Lynch. A set of jokes poking fun at the idea that there was a way of “working out” what the film was “really about”.
However, the 2005 edition of Lynch on Lynch, a collection of interviews with the great director, actually covers this episode of his career specifically. When asked whether he wrote them himself, surprisingly, Lynch noted, “Just for the heck of it, let me think about it.”
He elaborated on his process, saying, “They had to be genuine clues, but they also had to be pretty obscure, so if you had a certain take on the movie, the clues would be obvious, and if you had another take on it, they’d make you think, and maybe you’d see it again in a different way… They said it kind of worked, so I guess that’s why they made their way to England. I’m against that kind of thing, but they were pretty abstract kinds of clues.”
Which I think is the ultimate sign that this is the work of Lynch himself, notice how none of these clues are meant to guide the reader towards any specific interpretation of the piece… They’re really just emphasising important aspects of the picture that you might have missed on a first viewing and asking you to consider what they could mean in the grand scheme of things. They’re not “clues” in the sense that they tell the audience exactly what they’re watching; they’re encouraging an in-depth viewing of the film.
Nothing could be more classically Lynch in practise. What’s more, no film could be more deserving of an in-depth reading than Mulholland Drive, one of the greatest films of the 21st century.
Mulholland Drive | Official Trailer | Starring Naomi Watts
Paul says: Here's another Ebbets Field radio broadcast. This time, it's the British prog-rock band Renaissance.
Renaissance was founded in 1969 by two ex-members of the Yardbirds, Keith Relf and Jim McCarty. However, from the very start, the intention was to go in a classical direction, very different from what the Yardbirds did. The band went through some different personnel changes, losing Relf and McCarty along the way. By 1972, the band's line-up stabilized. The new focus for the band were the vocals of Annie Haslam and the piano of John Tout.
In July 1974, the band released their fifth album, "Turn of the Cards." Wikipedia says, "With a larger budget, the album went from folk-flavored to a more dark, lush, orchestral rock sound." This concert was part of a U.S. tour to promote that album.
It looks like this concert has been officially released under the title "Alive in America 1974." But it's a very obscure release, so obscure that I couldn't find a copy. But that didn't matter much, since I found a bootleg version of the radio broadcast that I'm sure was the same original source.
This album is 58 minutes long.
01 talk 02 Can You Understand 03 talk 04 Black Flame 05 talk 06 Things I Don't Understand 07 talk 08 Cold Is Being 09 talk 10 Running Hard 11 talk 12 Ashes Are Burning 13 talk by emcee
Join us along with 16 musicians from Hungary, Morocco, the USA, and more, for this global rendition of the #Nirvana classic "Come As You Are." Honoring 30 years since the release of Nirvana's album 'Nevermind,' witness the beauty and magic that's created when we unite. As the philosopher Aristotle said, "The whole is greater than the sum of its parts."
Turn it up and embrace who you are, just as you are!
Rest in peace #KurtCobain, your memory lives on through your music.
A lifelong fan of Washboard Sam with his cousin Big Bill Broonzy and here is more . . . . .’cos Mama don’t ‘llow!
Washboard Sam "(Mama) Don't 'Low" Robert Clifford Brown from Walnut Ridge, Arkansas via Jackson, Tennessee / Big Bill Broonzy's cousin Memphis, Tennessee with Sleepy John Estes and Hammie Nixon to Chicago and Bluebird Records
