“Baadasssss!” is Mario Van Peebles’ personal tale of the trials and tribulations his father Melvin Van Peebles went through in making his revolutionary independent film “Sweet Sweetback’s Baadasssss Song” in 1971, a film that had as its tagline “Rated X by an all-white jury.”
Mario’s father Melvin had just had a box-office hit with “The Watermelon Man” and everyone in Hollywood wanted to sign Melvin up for his next film. But Melvin had different ideas. He wanted to make a film that would be authentically raw and street, but the moneymen and Hollywood moguls were terrified and said no. So Melvin raised the money on his own and created a truly revolutionary film for its time. This process did come at a price though, especially for his family and his son, Mario.
However, the rest is film history and “Baadasssss!” is one of the rawest and best True Hollywood Stories you’ll ever see. It’s a very sincere attempt by a son to honestly (and sometimes painfully) portray a father’s genius and shortcomings without giving short-shrift to either. One of the best films of the past decade, one of the best films about filmmaking ever made, and one of the best films I’ve ever seen period.
A mature and meaningful love / breakup song from Earle’s “Jerusalem” album that was overshadowed by the controversy over “John Walker’s Blues.” An instant classic that’s just waiting to be covered and made into a huge hit.
A song that’s always a breath of fresh air on any 80s mix. “Under the Milky Way” is a lovely and eerie acoustic-guitar (and bagpipes ?!?) driven ballad that got as high as number 24 on the Billboard singles chart in 1988. Considering the crap that was on the Top 40 that year, that’s quite an accomplishment. Produced by Warren Zevon’s producing right-hand man Waddy Wachtel.
Punk rock didn’t start in the 1970s. It’s roots were arguably in the 1950s and especially, the early 1960s. The Shangri-Las were as street as the New York Dolls or any of the CBGB punk bands that emerged in the 1970s. So what if they weren’t singing about sniffing glue or having personality crises?
I remember hearing this song a lot when I was a kid on an oldies compilation my parents had. The drama and beach sound effects always haunted me. I didn’t know what the singer was feeling (and wouldn’t know it for real for several years), but it sounded like the end of the world.
Yes, this song is horrendously melodramatic and may only seem to be about the aftermath of a teenage breakup … but that’s what makes it so incredibly cool. As we get older and more jaded, it’s hard to remember how events we now see as trivial or not a big deal mean THE WORLD to someone younger. And yes, when you break up with someone when you’re that young, it really does seem like the end of the world. This is one of those songs that seriously and accurately conveys the drama of one’s first break-up. Something to keep in mind when your own kids will inevitably face the same thing later in life.
And if you’re at all intrigued by the Shangri-Las’ story (and it is a compelling one), be sure to download the ultra-cool Kindle mini-book from Amazon: “Are You There God? It’s Me Mary: The Shangri-Las and the Punk Rock Love Song” by Tracy Landecker.
The Misfits were always a refreshing alternative to most hardcore punk bands. They could play as fast and as tough as any band and they rode the psychotronic film imagery like no other band save the Cramps. But the Misfits’ songs had real harmonies and melodies. In my opinion, the Misfits’ secret influence is the Shangri-Las. Slow down any Misfits song and it sounds like early 1960s Shadow Morton/Phil Spector produced pop. This is my favorite Misfits song, but not my favorite version. That version can be found on the first Misfits collection CD. However, what’s here is still pretty cool. Contains one of my all-time lyrics: “I ain’t no goddamned son-of-a-bitch!”
Southern California punk legends Agent Orange with the title track from their exquisite 1982 mini-LP “Living in Darkness.” Agent Orange were a heavenly combination of the Ventures and Blue Oyster Cult, but with punk speed and attitude. This song and album was on constant replay during 1984-1985 and is still a stunner to this day. Makes me want to ride up to the 7-11 on my skateboard and get a Big Gulp. Though I realize that a 40-something guy on a skateboard whose name is not Tony Hawk isn’t cool … just creepy. So, maybe I’ll drive.
Kathryn Bigelow has always been one of the most exciting directors around. It’s nice she’s getting some acclaim, box-office love, and Oscar nominations/wins to boot (“The Hurt Locker,” “Zero Dark Thirty”). However, one of her most underrated films is 1995’s thriller “Strange Days.”
Produced by Bigelow’s ex-husband James Cameron, “Strange Days” is one of those films that makes you think, “Man, that was soooo 1990s.” Not only for the flashy visuals and maximum volume / intensity action and violence, but also because the film takes place in the days right before Y2K. And as such (given millennial fears), the film shows America on the verge of a social, economic, and racial apocalypse (not entirely inaccurate).
The film features Ralph Fiennes in the lead as a sort of virtual reality drug dealer, selling lifelike virtual reality experiences of illicit and sensual pleasures. However, like any drug, the virtual reality experiences can sometimes be addictive and people find themselves slavishly addicted to “playback.” As the film unfolds, there’s elements involving “snuff” clips (people being killed for the purpose of making a virtual reality user experience murder), assassinations, and political/legal corruption.
A lot of this is very melodramatic and sometimes laughable (it’s always interesting to see how older filmmakers and storytellers envision a future we’ve already lived through). But what’s most amazing is in how much it predicted: the deaths of Tupac Shakur and Biggie Smalls (and ensuing conspiracy theories involving the LAPD, record label moguls, and rival gangs), the addictive nature of an internet life (as seen with people – mainly in Eastern countries – who have literally died playing multiple hours of video games at a clip without rest), the addictive need to watch more and more disturbing imagery (because it’s only a click away, remember), and how we all are just a significant event away from mass chaos and confusion (i.e. Katrina).
“Strange Days” may be flawed, but even nearly 20 years later, it’s still an undeniably exciting film. The acting, from Fiennes to Angela Bassett, Juliette Lewis, Tom Sizemore, Vincent D’onofrio and Michael Wincott, is excellent. I had the privilege of seeing “Strange Days” the day it opened in October 1995 on a huge screen with a very loud (and then novel) digital soundtrack … and tellingly, only 2 other people in the audience. This is a film that seriously needs reevaluation, along with a deluxe Blu Ray edition that takes full advantage of the medium.
“I’m Not Sayin'” was an early pre-Velvet Underground single cut by Nico for Andrew Loog Oldham’s Immediate Records in Britain around 1965 or so. It’s pretty boss mid-1960s folk pop with some great acoustic strumming by none other than Jimmy Page.
Nico’s version has a certain hip cachet these days, but not many people realize this is actually a cover of a Gordon Lightfoot song that was a hit in Canada the same year. The Lightfoot version is also highly recommended and included here as well.
Nico’s version of “I’ll Keep it With Mine” from her 1967 “Chelsea Girl” album is one of my all-time favorite Bob Dylan covers. The acoustic guitars and strings that permeate the song (and album) make this a great rainy afternoon choice.
Dave's Strange World 