Posts Tagged ‘Justin Timberlake’

Farkakte Film Flashback: Random Road Movie Edition

roadThe Open Road, starring Justin Timberlake and Jeff Bridges as an estranged son and father who struggle to reconnect during a cross-country trip to visit Timberlake’s ailing mother, opens in limited release today. Sure, it sounds like a downer, until you consider that the next road movie coming out is October’s The Road, where Viggo Mortensen plays a father struggling to protect his son from cannibals in postapocalyptic America. Suddenly the Timberlake flick seems pretty rompy!

The Open Road is a dramedy, supposedly, but I usually like my road movies to have a little more whimsy in the engine. You know what I mean — they should have things like bears in Studebakers and phantom truck drivers and Paul Giamatti freaking out like a tightly wound wallaby. With that in mind, hop in and let’s take a ride down the Random Road Movie Highway.

The Muppet Movie (1979): I wouldn’t know what to think about somebody who doesn’t love The Muppet Movie, other than that he or she is probably a sociopath. In fact, that’s the first question the authorities should ask suspected serial killers: Do you love The Muppet Movie? If the answer is no — BAM! Throw away the key.

The Muppet Movie — directed by TV veteran James Frawley, who, frankly, Jim Henson should’ve kept around for the rest of the Muppet movies — is a lot of things: a musical, a comedy, and the best repository of cameo appearances since It’s a Mad Mad Mad Mad World (1963), but at its heart it’s a road movie. It’s even — dare I say it — an odyssey. (And unlike It’s a Mad Mad Mad Mad World, which I suppose could fit the same description, it’s aged beautifully. Even the Hare Krishna bits are still funny.)

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Mix Six: “The 2000s”

DOWNLOAD THE FULL MIX HERE

I used to watch Thritysomething during its original run and on re-runs on Lifetime because, well, I’m a sensitive new age guy, I guess.  Maybe it was the fact that my girlfriend (who later became my wife) was a big fan of the show and I just kind of got sucked into it. Or maybe, it’s because the show was so full of navel-gazing angst that, for me, it was hard to resist.

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One of the minor characters who was integral to the narrative arc was Miles Drentell — the owner of D.A.A.  D.A.A. was one of the most influential advertising agencies in Philadelphia, and it seemed that the weird world of manipulation/advertising was wrought, in part, by Miles.  During one episode, he and Michael Steadman (moral anchor of the series) were eating dinner with some mucky mucks from the heartland and talking about an ad campaign. Steadman and the Midwest mucky mucks were hitting it off, and Miles, increasingly alienated by the conversation, blurted out an aphorism that my wife and I quote from time to time:  “The Decimalization of time is so arbitrary…”  And so it seems to be when it comes to popular music.  If I say “The ‘70s” what comes to mind when it comes to music?  The folksy stuff of the early ‘70s?  Disco?  Arena rock?  How ‘bout the ‘80s? New Wave? Michael Jackson? Rap?  Richard Marx? The ‘90s?  Grunge?  Rap?  Boy Bands? Britney?  Okay, enough questions … I think you get my drift.

Well, what about “The 2000s?” (Crap, I thought I was through with questions!) It’s a decade that hasn’t really defined itself with a genre of music the way its predecessors did. But here we are at 2009, and if we’re slaves to the notion of decades, then 2010 means it’s the start of a whole new world.  Could it be because of the way in which the Internet has fragmented music consumption, radio taking fewer and fewer risks when it comes to formats, and MTV creating niche channels that cater to certain demographic groups, that the power of a medium to frame the tastes in popular music has resulted in “The 2000s” not having defining characteristics that are easily distilled into unique one or two-word terms? (more…)

Dw. Dunphy On… Madonna

too badI said something that sent a jolt of disbelief through the ranks of Popdose. I have been known to take my opinions to the far side, but this one threatened to betray an ignorance I didn’t know I harbored. Let me spell it out and see if I’m as far off base as some have claimed me to be:

Madonna will not be remembered for her music as much as her controversies. In fact, the latter is likely to shadow the former so much that her output as an artist will become an afterthought. And while Mariah Carey’s vocal acrobatics have become the standard pop style (thereby irreparably screwing everything up), Maddy’s antics have become the standard conduct by which all young up-and-comers must match or else not be noticed at all.

Your first salient question would be, “Dunphy, do you even like Madonna’s music?” Honestly, it’s not that I dislike her music at all. No, I’m not a fan and no, I don’t own any of her albums, but I can say unequivocally that she’s made three truly great songs in her career, a lot that I like in passing, and some that are total crap for the sake of spiking the media. The three great songs are, in no particular order, “Live To Tell,” “Oh Father,” and “Frozen.” All three indicated to me that she could radically depart from her patterns and deliver. There is nothing on her latest, Hard Candy, that comes close to the style and sentiment of the aforementioned tunes, even though that album is being hailed as a return to form.

Ideally, that’s what we should be talking about, right? That album? The music? Sure, Maddy’s a PR animal and seeks attention the way sharks seek chum, but she’s a singer and that ought to be the first thing that comes to mind, no? (more…)