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On the Eighth Day God created Sparks
04.10.2019
08:54 am
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October 5th 2006: Sparks played the ABC, Glasgow, an old cinema that had at one point been known as the venue for Hengler’s Circus. In the basement assorted wild animals (bears, giraffes, lions apparently) had once been kept for what was then considered entertainment. Legend has it these animals were on occasion given a day out, led up Garnethill to the famous Art School for the students to draw. Both buildings have since, sadly, been destroyed by fire.

That fall evening, Sparks played a blinder. One of the best concerts I’ve ever seen. I wasn’t alone in that thought. A young lad dancing dementedly beside me in the packed arena said it was the best “fucken concert” he’d seen.
“Seen a lot of concerts?”
“Aye, hunnerds, fucken hunnerds, man. Ah didnae ken who these cunts were, Ah only came wi’ ma mate, but fucken hell they’re fucken brilliant, man, fuc-ken brilliant.”

He was too young to be Irvine Welsh, tho I wondered if he could sell me some E’s, but still I knew what he meant. There was something special that night—even Ron Mael smiled and seemed to be having fun. Maybe it was because the fifth was Russell Mael’s birthday? Maybe. It could explain why he put so much energy, passion, and artistry into his performance—but then again that could just be great talent. Before the show finished, the whole auditorium erupted in a rousing version of “Happy Birthday to Russell” as he was presented with a candle-lit cake. Maybe. But more likely, or at least what I like to think, this was Sparks, Ron and Russell batting a new century into touch by producing some of their best, nay greatest, and most original work to date.

It all kicked off in 2002 when Sparks released one of their best albums Lil’ Beethoven. This was a record like nothing that had come before. Though to be fair, there were some hints in their album Gratuitous Sax & Senseless Violins in 1994 and the single “Wunderbar” in 2001 anticipated elements of this epic work of sheer artistic brilliance. From the opening track “The Rhythm Thief” we ain’t in Kansas anymore, Toto, the album’s like a John Adams opera meets the Beatles meets repetitive, hypnotic, minimalist electronica all filtered through the talents of Ron and Russell.  Take a listen to tracks like “I Married Myself,” “My Baby’s Taking Me Home,” and “Suburban Homeboy,” and you’ll see what I mean. Lil’ Beethoven was a massive critical success, but not so great commercially, alas. Then in 2006, the brothers Mael released Hello Young Lovers, another album of show-stopping songs which deservedly brought the brothers their biggest commercial success in quite a few years. A single off this album “Dick Around” was banned by the horse’s arses at the BBC who were offended by the word “dick.” Which says more about the minds that work there than what the term actually means.

But the Maels weren’t finished or even sitting on their laurels. While other bands start treading water or retiring when they hit their sixties and seventies—which in a sidebar moment always makes me wonder do these dark-haired septuagenarians dye their pubes to match their hair? It would look odd if they didn’t…—Ron and Russell Mael were putting out one masterpiece after another.

Following on from Hello Young Lovers came Exotic Creatures of the Deep in 2008, which proved as successful as the previous release and was notable for the singles “Good Morning” and “Lighten Up Morrissey.” This was great, catchy, leftfield pop but nothing compared to the utter brilliance, nay genius, of The Seduction of Ingmar Bergman in 2009. Here was a pop opera about the famous Swedish film director invited to Hollywood to make movies. The storyline about Bergman’s artistic integrity in battle with commercial success—or selling out—applied as much to the filmmaker as it did to Sparks. Commissioned by Sweden’s national broadcasting service, Sveriges Radio, the brothers were at first reluctant to accept the gig, but eventually did accept thinking it might be something to work on between albums. As it turned out, The Seduction of Ingmar Bergman proved to be much bigger than that.

Yet again talent is an asset, but doesn’t always bring the rightful rewards.
 
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Sparks and audience, O2 Glasgow, May 2018 (I’m in there somewhere….hidden by hands)
 
Sparks in concert, after the jump…
 

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Posted by Paul Gallagher
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04.10.2019
08:54 am
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Edgar Wright’s brilliant fake trailer for ‘Don’t’ spoofs exploitation films of the ‘70s & ‘80s
07.28.2017
02:29 pm
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Don't
 
This summer, both critics and regular folks who have to pay for their movie tickets have gone ga-ga over Baby Driver. The film was directed by Edgar Wright, who first gained mainstream attention for his awesome horror-comedy, Shaun of the Dead (2004). Admiration for Shaun led to Wright being asked to contribute a fake trailer for the Quentin Tarantino/Robert Rodriguez extravaganza, Grindhouse (2007), their highly entertaining tribute to ‘70s and ‘80s exploitation cinema. In an interview with Rolling Stone prior to the release of Grindhouse, Wright talked about the main inspiration for Don’t.

In the ‘70s, when American International [Pictures] would release European horror films, they’d give them snazzier titles. And the one that inspired me was this Jorge Grau film: In the UK, it’s called The Living Dead at Manchester Morgue. In Spain and in Italy, I think it’s called Do Not Speak Ill of the Dead. But in the States, it was called Don’t Open the Window. I just loved the fact that there isn’t a big window scene in the film—it’s [the trailer’s] all based around the spin and the voiceover not really telling you what the hell is going on in the film.

Don’t Open the Window is set in England, and though English is the spoken language in the US version, the American trailer was cut in such a way that none of the actors’ voices are clearly heard. When Tarantino and Rodriquez appeared on Charlie Rose to promote Grindhouse, they talked about why there’s no dialogue in the preview for exploitation pictures like Don’t Open the Window.

Tarantino: His [Wright’s trailer] is like a British horror film from the ‘70s, but it’s the American trailer, which means they never let any of the actors talk, because in America they didn’t want anyone to know that it was a British movie until you were already in the theater.

Rodriguez: It was too late.

Tarantino: It’s too late!


Continues after the jump…

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Posted by Bart Bealmear
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07.28.2017
02:29 pm
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‘Happiness Is a Warm Gun’: Early-90s VHS montage of films with guns
04.06.2011
12:57 pm
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In 1993, Edgar Wright made this video montage of guns in movies and used The Beatles’ “Happiness is a Warm Gun” as the soundtrack. He recently wrote on his website, “The following clip I edited together while at Bournemouth Art College. Way before I’d ever seen an Avid suite, this was done over some long weekends locked in a VHS tape to tape editing suite. Yes, VHS!”

(via HYST)

Posted by Tara McGinley
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04.06.2011
12:57 pm
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