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Never let your iPod be a movie producer...

Gacked from various folks, like elishavah and katie_m



Set your iPod (or whatever) to shuffle and use the songs that come up for each part of your movie soundtrack:

I’m guessing mine will be a movie that is best enjoyed accompanied by a lot of banned substances…

OPENING CREDITS: "Mrs. Robinson” by Simon & Garfunkel

Okay, sure. I’m not ennui-laden enough to be Mrs. Robinson, mind you. But by a strange coincidence, this song happened to be #1 on Billboard’s chart on the day I was born. Just sayin’.


WAKING UP: "Walk of Life” by Dire Straits

Well, it’s peppy. Sure, it could wake me up. It’s not a BAD song. It just doesn’t really sound all that much like a Dire Straits song.


FALLING IN LOVE: "In My Life” by the Beatles

As falling-in-love songs go, what this song tells me is that this love story is going to have a melancholy, poignant quality to it. Sometimes. What the selections so far tell me is that this movie is going to be gloriously schizophrenic. Maybe it’s all some metaphor? I mean, peppy on the outside, soft and squishy and full of regrets on the inside? I dunno.


FIGHT SCENE: "Creeque Alley” by the Mamas and the Papas

Yes. Yes, I would very much like to see somebody choreograph a fight scene to this song. I think the pertinent questions here are, who is fighting and what is being fought? Because seriously, that’s some wacky juxtaposition going on. But sure, go with it. It could be art-y.


BREAKING UP: "Hazy Shade of Winter” by Simon & Garfunkel

Look, the falling-in-love song is all about how everything in life changes, and sometimes change is good and sometimes it’s not, and I don’t necessarily LIKE change (how true that is), but whoever I’m falling in love with, seems to be a constant while everything else changes around me. Okay. But what THIS song seems to be saying is: yeah, forget that. Time rolls on and change makes you its bitch. It’s a bleak, bleak, wintry break-up, is what I’m saying.


GETTING BACK TOGETHER: "Yer So Bad” by Tom Petty

But maybe that was just the schizophrenia talking? See, I would take this to mean that the whole Winter thing in the breaking-up song was, like, a red herring, or a misinterpretation. Yes. It’s a classic. Breaking up due to getting yourself in a funk that was all just a product of your own insecurities. But no! The constant lover is still constant! Get your head out of your ass!


SECRET LOVE: "Abbotts Bromley Horn Dance” (Kathryn Manning)

Uh… huh. Apparently my secret love is a Morris Dancer…


LIFE'S OKAY: "Anything Goes (Chinese)” from Indiana Jones Temple of Doom Soundtrack

Here’s where we get to the part where you KNOW this was put together by iPod Super Shuffle, because you could not make this shit up. The wacky nature of the particular version aside, though… okay, sure, I like Cole Porter. It’s hard for life not to be okay when it’s set to a Cole Porter tune.


MENTAL BREAKDOWN: "Summer Me, Winter Me” by Frank Sinatra

Again with the WINTER thing, geez. This is an extremely romantic song about the constancy of love through all seasons and ages. But apparently we just can’t hack that, in this movie. It causes something in the brain to go SPLORT.


DRIVING: "Blue Rondo a la Turk” by the David Brubeck Quartet

Curiously, I would say that the peppy, sprightly tone of this light, experimental jazz fits in pretty well with the overall mood of this movie. And after the bombastic orchestration of the mental breakdown piece, the tinkly keyboard here is a good return to the whole violent-mood-swing feeling of the whole thing.


FLASHBACK: "Only the Good Die Young” by Billy Joel

(Insert ironic laughter here.)


PARTYING: "Love is Like a Rock” by Slade

Hey, Slade is always hard-rockin’. They’re a good band to party to. Apparently though, no partying can happen without anvil-like reminders of the movie’s central love story. Sheesh! Again with the constancy – yes, yes, we GET it already!


HAPPY DANCE: "Nasrudin” by Boiled in Lead

Inasmuch as, were I to do belly-dance, I would want to choreograph a dance to this – yeah, sure.


REGRETTING: "Oliver’s Army” by Elvis Costello

Ooooooooo-kay. I’m not sure what’s really to regret here… If anything, including the musical style and tone, it seems like this song is a brief aberration, like it’s suddenly intruding from a completely different movie than the one we’ve been watching. Given the subject-matter, though, instead of inspiring regret, I would think it would inspire feelings of, “schizophrenic or not, thank god I’m in THIS movie and not that one over there…”


LONG NIGHT ALONE: " Suite No. 1 in G Major, S. 1007 - V. Menuet , from Bach’s Unaccompanied Cello Suites” by Yo-Yo Ma

The Cello Suites are a very warm, rich, enveloping sort of sound. If this is the soundtrack, then the long night alone is very likely spent wrapped in something fluffy and warm. Probably in front of a roaring fire, looking out a window at falling snow (because we have to revisit that WINTER theme somewhere, and apparently in this movie, aloneness is either triggered by, or leads to, winter symbolism.)


DEATH SCENE: "Mahna Mahna” by Animal & the Muppets

Clearly, this was brought to you by the same genius who brought you the fight scene done to “Creeque Alley”. And the letter Q.


END CREDITS: "What a Day that Was” by the Talking Heads

Well… huh. Now, frankly, what this suggests to me is that the audience is supposed to wonder whether the entire foregoing movie was nothing but a dream/story that the protagonist was telling herself – but now you can chuck the entire thing out.

Actually, the dream thing? Might go some way towards explaining several of the weirder song choices.

But fake-out-wise, it kind of reminds me of, oh, say, Paul McCartney’s “Give My Regards to Broad Street”. In the sense that, I don’t think most audiences love it when you bring them to the end of a movie that they’ve been trying to follow in good faith, and then you whip back the curtain and say, “Look! It was all a dream! PSYCH! Ha hah ha!” All that really does is make the audience want to throw things at the screen. Tsk.

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( 9 comments — Leave a comment )
katie_m
Jun. 2nd, 2006 03:56 am (UTC)
DEATH SCENE: "Mahna Mahna” by Animal & the Muppets

OMG your movie is Farscape! Puppet death!
eregyrn
Jun. 2nd, 2006 02:07 pm (UTC)
You're right, that would explain a HELL of a lot. The weird mood-swinginess of it. The muppets. Yes, it all makes sense now.
advection
Jun. 2nd, 2006 01:38 pm (UTC)
Oh, I love the Abbotts Bromley Horn Dance! Your secret love is stately and hypnotic and a little mysterious (well, yeah, I guess -- it's secret) and suggestive and has deep pagan roots. Cool.

Driving in -- what the hell is Blue Rondo, 9/8 time?? That could be ... interesting, in a frenetic erratic threat-to-everyone-else-on-the-road sort of way.

The Mental Breakdown theme -- lol!
eregyrn
Jun. 2nd, 2006 02:25 pm (UTC)
Oh good, another Morris Dance fan. :)

I live in the Boston area, and every year for like the past 30 years, there's this local company called the Revels that puts on a Christmas show in a Harvard theatre space. The second year after we first moved up here, 1992 I think, raqs and I went to the Revels for the first time. It's halfway Christmassy and halfway just flat-out Winter Solstice-y, which is fine with us because we're way more pagan-ish than we are Christian, anyway.

Revels always has a theme; that first year, the theme was Mesoamerican. It's not just a concert, there's choral singing but also dancing and costumes and performances and a mummer's play and Morris dancers and just all kinds of stuff. But no matter what the theme, there are certain traditional pieces that they do every year, even if it doesn't mesh with the theme very well. One of those pieces is the Abbotts Bromley Horn Dance, which is done to start the second half of the show, and is done with all the lights out except for a couple of faint blue spots that make it look like moonlight, and the only instruments are a single recorder, and a bell. (Within the past 5 years, the troupe has actually gotten a set of replica antlers from Abbotts Bromley to use!)

The first time I saw it, it was just... man, I was just blown away by it. :) It was so, SO perfect. So, as you say, stately and hypnotic and mysterious and clearly deeply pagan. It was JUST what I wanted.

Now, my Xmas/Solstice just isn't complete without the Revels and the Abbotts Bromley Horn Dance. :)

(There was ONE YEAR where they didn't do it, because it didn't "fit the theme", though I don't recall now what the theme was... Me and the rest of my friends, up in the balcony, after we got back from intermission, put our hands to our heads as antlers and started bowing to each other, going "doodoo DEE doo, doodoo DEE doo". We got a lot of stares. But the next year, it was back in the program. Apparently more folks than us had complained. :) The Revels has that happen sometimes. The show always ends with an audience sing-along of the Sussex Mummer's Carol. One year they tried to leave it out, again because of the theme -- this was before we started going -- and apparently at the end of the show, while the cast was taking their bows, the audience just insisted on singing the whole thing through anyway.)
advection
Jun. 2nd, 2006 02:47 pm (UTC)
the audience just insisted on singing the whole thing through anyway -- Oh, I love that SO MUCH. The Revels is an annual event for us too, but I never saw that happen. That rocks.

We do the same thing with the horn dance at odd moments throughout the year, making index-finger head horns and starting up a little Morris conga line and singing the tune. The audience-participation thing carries on after the show's over, I guess. *g* (I love the singalongs, and the Lord of the Dance dance-along.)
eregyrn
Jun. 5th, 2006 03:12 pm (UTC)
Oh, cool! It's great that you're in a city that has a satellite Revels! :) (I *was* wondering how come you knew the Abbotts Bromley, as it's not exactly a folk-tunes hit even amongst folk-tunes fans...)
eregyrn
Jun. 2nd, 2006 02:27 pm (UTC)
Driving in -- what the hell is Blue Rondo, 9/8 time?? That could be ... interesting, in a frenetic erratic threat-to-everyone-else-on-the-road sort of way.

I could probably pull it off; I do drive a Mini, and that would seem to fit. What I'm thinking is that that portion of the movie is speeded up for humorous effect. Which would totally fit in a Farscape movie, because there's no wacky staging they wouldn't happily do.

Also: are you laughing at my Frank Sinatra collection? o.O
advection
Jun. 2nd, 2006 02:39 pm (UTC)
I am so totally not!! I was raised partially on Frank Sinatra albums, although I've gone off him a bit in recent years (I think because he's been overplayed on the radio). But I'm still laughing at how un-mental-breakdown-y that song is. Which makes it perfect, in a surreal non-sequitur way. *g*

The driving scene absolutely must be speeded up, exactly like that. And a Mini is perfect! You can execute all sorts of crazy maneuvers in a Mini. Run rings around those bloody Hummers. Harass and torment them! In 9/8 time! I'm liking this part of the movie a lot.
eregyrn
Jun. 5th, 2006 03:17 pm (UTC)
*nods* My dad was a huge Sinatra fan. Not only did we have all the albums, of course, but when I was growing up in the 70s and 80s, the Philly area had this syndicated radio show with Sid Mark, which was "Friday with Frank" and "Sunday with Sinatra". Naturally, those were "can't miss" in our household. They also frequently coincided with certain drive-times when I was stuck in the car with my dad's choice of music. Every. Freakin'. Weekend.

So Sinatra is kind of like an ear-worm buried deep, DEEP in my brain. I guess I could have gone either way -- hated it and rejected it entirely, or... not. I went the "not" way. I guess there's few styles of music that I won't listen to and I became genuinely fond of Sinatra.

Fortunately, the radio I listen to now doesn't play him at all. :) So I have my Essentially Sinatra playlist on my iPod, and when I feel the need, I can whip that out. I find it good for driving. (Funnily enough. ;-) But of course, when *I* listen when I drive, I sing along. Loudly.)
( 9 comments — Leave a comment )