New Ears: JAWS

New Ears for the New Year.

Even though it's February.

For the new year I'd like to broaden the scope of New Ears toward the medium of film. An HBO showing of Steven Spielberg's 1975 classic JAWS being the catalyst for this latest urge to write, I figured that over the next few weeks I'd take the time to have my own little Spielberg Retrospective. This is as a result of a) having the time in the evenings to do such a thing, b) having not seen his classics in quite some time begs the question of how they've withstood the test of time, and c) I recently acquired a brand new Sony 46'' HDTV and really want to watch the hell out of it. [and d) I just moved into a new place, and the debt acquired from new house purchases is sure to curb my weekend spending.]

So here it is...

JAWS was Spielberg's big breakout onto the film scene and as such has been probably one of, if not the, highest grossing films of his career. It's a tight and suspenseful flick and one that has struck so many people where it hurts... with a fear of water. I, to this day, cannot swim comfortably in the ocean. I spent two weeks in Hawaii this past summer and while I enjoyed myself in the water playing about in the clearest of seas with crustaceans and fish and squid, there was not 5 minutes that went by where I wasn't checking my back.

We all know that Spielberg was a wunderkind of filmmaking. We all know he had technical prowess, we all know that the man knew how to work with kids. What I love about JAWS is that now, at 25 years old, after more than 100 viewings of this thing [I'm sure], there are still things I catch in it that make me more frightened than ever, that make me laugh harder, and that make me still wonder like a little boy.

First of these: probably the scariest scene in the film for me, when Brody's son Michael [played by Chris Rebello] is stuck in the water after the man in the red row boat is attacked [leg bitten off no-less]. The look on the kid's face is one of utter shock and terror. He is literally in awe of the massive beast as it swims past, undoubtedly with the lifeless body of the row boater hanging out. Also worthy of mention, this is the first time we see glimpses of the shark and it's nearly halfway through the film. This has long been considered the greatest tactic in creating suspenseful cinema... keep the audience waiting and play on their emotions, their imagination. Spielberg does it to perfection here. Plus, when we just barely see the jaws of the beast open under about a foot of water, it is absolutely frightening. It looks real. And it makes me want to cry.

Second: one of the funniest moments of the film that I haven't caught before. While the boys are all sharing war stories [literally sometimes], and Quint and Hooper are showcasing their wounds, laughing it up with drunken fervor and bravado, Brody [played perfectly by Roy Scheider] is come over with a look of yearning to be included, lifts his shirt and feels across a scar from what can be said is probably an appendix removal, then drops his shirt again in puny defeat. I had never caught this moment before, but this last time it got me giggling for a good few minutes.

Third: an effect I've wondered about ever since the beginning. When Brody decides not to fire at the beast as it swims away we're left with a close-up looking up from the decks into his face. In the background a shooting star is seen flying from right to left of the screen. I've always wondered if it was SFX or if the moment was just one of pure magical luck. That's what I want to believe. I've searched the internets all day and can honestly say that no one knows for sure. On HBO's version it looks animated. On my DVD it looks real. Spielberg has claimed it both ways, and fans across the net have noted it as a 'berg trait in many of his classic films.

I suppose we'll never know for sure, but I'll keep hoping that it was just happenstance. It's more enjoyable that way.

So that's it for JAWS. Next up on the agenda will be E.T. The Extraterrestrial. I've been wanting to watch that for weeks now.

Feel free to watch it sometime this weekend as well...
Next week we can all comment on it.

New Ears: The Beatles

The Beatles.

I know it’s an easy choice. They’re so many people’s favorite. They cover nearly every genre of the aural spectrum. They’re so adorable.

Why is that so?

This answer makes them perfect for New Ears.

In the spirit of things, and after an entirely coincidental weekly trip to the pub, I thumbed the iPod into shuffle. This is essential to New Ears. Without the shuffle, New Ears is hardly possible. On this certain occasion all it took was a simple move to All Albums, first album, first song. This song happened to be “Come Together,” the first track to side A, Abbey Road.

Now, whether the ensuing words be as a result of the preceding trip to a night at the pub or a well researched, yet quickly arranged diatribe on one of the best groups of all time we’ll never know. Regardless, “Come Together” is an incredible recording.

Imagine starting off the final chapter in a saga so epic that it has drawn together what is nearly the entirety of the world. What might seem like a daunting task to most, “Come Together” accomplishes in the blink of 4:21. It perfectly starts off what will be the end of a group with a description of not just who they are, but what they represent to such a wide range of people, asking, nay, pleading with the listener, whoever they may be, to join in on the last moments of a dying act; the last moments of a group of minds that revolutionized an art form. I Like The Beatles.

Compositionally the song is absolutely heart/brain/body-meltingly pretty. Paul McCartney, in one of his more unselfish moments, smoothly ushers the rest of the band through the entirety of the track as Ringo adds footholds along the way. And Lennon’s exasperated yet somehow pitch perfect voice mingled with his and George Harrison’s fuzz, cuts through this all like a knife. At the risk of sounding too fan boy/conspiracy theory nut about this, it sounds like an out and out jab at the whole of the group.

It’s no secret that The Beatles ended in turmoil. Hell, it’s been well documented on film and recording that there were squabbles in the last few years, to the extent that major players walked out midway through recording. John hated/envied Paul, Paul hated/envied John. George hated/envied John and Paul. Ringo wanted Peace. That was the story for every album from The White Album on. This, however, isn’t why they are as interesting as they are. Actually, maybe it is, because despite the conflict and stress, despite the despise, despite the environment of the times, The Beatles still got together and made Abbey Road. In fact, they didn’t just record Abbey Road, they recorded Abbey Road and Let It Be.

A fun fact about the two albums is that even though Let It Be was released last it was Abbey Road that was recorded last. This is only deceiving to those interested in chronological accounts though, because if you listen to both albums together they sound like sisters. I beg you, play “Don’t Let Me Down” just after “Come Together.” You don’t have an accepted homogony between albums like that anymore. Nowadays a band sounds the same from album to album, they are crucified for redundancy. The Beatles did it in the early 70’s and managed to put out at least one of the technically and commercially great albums ever.

At the mention of redundancy: I feel like I’m slowly straying from the point (again, pub night).

Point: “Come Together” is capable of reigniting love. It may not be love for another (we’ll leave that more to track two from Abbey Road), but it is definitely love for The Beatles that lay buried under the surface of my skin. But isn’t this why The Beatles are who they are? Their span across the vast landscape of everything Music is such that this feeling is possible. They will always be there, no matter the circumstance. This New Ears could’ve happened (and probably will again) at any moment because these words could essentially be written about any song from the short lived-yet well-filled catalog from these scousers. I could have fallen again from “When I Get Home” or “Fixing A Hole” (which I’m libel to do, just wait). It could have been any song. This time though, it was “Come Together.”

Give it a shot with New Ears:

The Beatles – Come Together – mp3

isn't music fun?

MTV and their grip on 'Reality'

Just finished a bit of late weekend television and decided another bit of written-on-a-whim blogging would feel satisfying. Here's another New Ears...


So the nice thing about having a significant other again is that I'm introduced to new things. Sometimes I'm even re-introduced to old things I've managed to let slip from everyday life. This is entirely the case for MTV and their "awards show," the VMA's.

I know it's become incredibly cliché to rip on MTV, but it's not like they've made it easy on themselves. Actually, wait a minute, maybe they have. After all, how hard is it to produce the same television show over and over again, each with a new name, every three months? How hard is it to put aside actually seeking out new and exciting music and just push whichever label-produced PR dream is new this quarter because, well, they're part of the corporate family? Do you remember the day's (though few they may have been) when you actually felt compelled to watch MTV? Remember when they actually had cult programming? Beavis & Butthead wasn't exactly Shakespeare, but at least there was a story behind (some of) it, at least there was a creative process behind it. Nowadays, all you've got is a show literally about 20 guys & gals competing on an island where getting completely obliterated and hooking up with each other is actually encouraged. The commercial for MTV's new reality contest, The Island, actually dumbs it down enough for you midway through, when they actually say, "Oh yeah, and there'll be plenty of hooking up." It's prostitution for the new age.

And how about the actual VMA's? They used to have acts perform before and during the show, remember? Now it's the winner's of their reality dance competition show and a bunch of actors miming to a virtual orchestra of backing tracks. How long have I not been paying attention to the Top 20? When did popular music for the masses become a series of blips and screeches, flashes noise and crotch fondling? When did the complete absence of melody and tune become popular? Why are the nominees for best rock video a bunch of faces? And Rap, Hip-Hop, R&B? Guys, you're declining as well.

It's not that I don't like the genres, but you can do better. You all can. There were two performers tonight that weren't main highlights at all. They had no dose of spectacle, other than letting music speak for itself. Thank you Lupe Fiasco. Thank you Ting Tings. You two were the two best performers of the night, yet you were reduced to ushering in & out the commercial breaks.

And Britney Spears? Look, I'm with South Park on this one, leave her alone and everything will be fine. Forget about all the stupid shit that has happened in the past and lets just move on already. Instead, MTV makes the grandest apologetic gesture of all time, and one that completely solidifies it's place in the corporate marketplace, by giving Britney Spears three awards for a song & video that is literally her standing in one place shaking her hips. The awards it seems have been given as a "really sorry we made you out to look like a complete fool last year" type stunt. You know what though? Who cares right? It was the 25th anniversary of the VMA's, I say let them go out with a flutter.

I think I may be ranting. But that'll happening when you're listening to something again with new ears.

MTV, please go away. Take a breather. Come back in 5 years and let's see if we can't start this over again, on better terms. Right now I think the world can do without you.

On another note though, Brit-host Russell Brand was actually quite funny. I think he was perfectly offensive and nobody saw it coming. Well done, Russ. You were the best part of the night.

Jesus, I just blogged about an MTV awards show.