David Bowie

The word “genius” is grossly overused, especially in the arts world. Many many people are very very good at what they do, but does that make them a genius? No. In music especially, people toss around phrases like genius producer, genius songwriter. It’s mostly bullshit. Have they changed the world? Reinvented the wheel? No. They’re just very good at what they do. And honestly that’s enough.

But today we lost someone who did change the musical world. Who did reinvent the wheel, then reinvent it again, then again, then again, and again. Today we lost David Bowie. And David Bowie was a genius.

I was twelve years old. I didn’t understand the concept of the corner record store yet, but my very cool aunt and uncle would take me to the local Caldor Department Store in Waterbury, Connecticut where they actually had a massive record section. The manager of that department was named Dave. I had heard this song on the radio about an astronaut, Major Tom. Dave knew the song I was talking about. He sold me Hunky Dory. And when I went back in a few weeks later looking for more, he sold me that same artist’s new record, The Rise and Fall of Ziggy Stardust and the Spiders from Mars.

I fell in love with David Bowie at that point in my life. I probably didn’t know what most of the songs even meant, but still, they spoke to me on some level. A level that would morph as I grew older. And as a surprise, that very cool aunt and uncle, who were always taking me to concerts, took me to see what would be the final performance of Ziggy Stardust at Carnegie Hall later that year.

I would wait in line overnight in front of the New Haven Coliseum at the age of 14 to get tickets for the Diamond Dogs tour. (Anyone who lived in New Haven in the 70s knows my life was at risk.) I would see him from the front row in Radio City Music Hall on the Young Americans tour. And again in New Haven for the Return of the Thin White Duke. There was no opening band on that tour, but instead he played the Luis Bunel/Salvador Dali film Un Chein Andalou before taking the stage amidst walls of white light. I have never seen anything quite like that film or that tour since.

As a teen I endured countless hours of what we now refer to as bullying from the Lynyrd Skynyrd-loving fucktard jocks in high school because in 1974 I had spikey hair when they had mullets. But I never really gave a fuck. David Bowie was calling. And instead of playing the same song over and over, he always had something new and interesting to say.

My love for Bowie never stopped. I saw every tour. And though there were certainly later day records, post Let’s Dance, that didn’t speak to me on the same level as Ziggy or Aladin Sane or Station to Station or Heroes, I never stopped playing those older records. Because Ziggy Stardust, like any genius work of art means something different to me today, just as it meant something different when I was in my 40s, something different in my 30s, and so on. It changed with me.

And if there were an artist who influenced me more than any others in how I do what I do, that artist was Bowie. Constantly changing. Never repeating. Never allowing himself or his fans to feel comfortable. I’ve often said I don’t ever want to make the same movie twice. That was the Bowie influence. I love reinvention. That was Bowie. I love rock & roll that breaks my heart. Goddamn, that was Bowie.

Of course he made the changes seem easy. (Hell, he had a song about it.) Even up to his final musical breath with his latest record Black Star. So haunting now that he’s passed.

I loved this man. Everything he stood for. He was a God to me. As much a teacher as anyone I’ve ever met personally. I am saddened by the fact that I will never again get to see him perform live. And I am thankful he left us with one final beautiful gift of a record.

I didn’t cry when Elvis died. Nor Lennon, or Cobain. But I cried today. Today a genius died.  Today David Bowie died.

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The Best of 2015

Unlike previous years where there have been standout albums that ran away with my head, my heart, my soul (SOMEWHERE ELSE from Lydia Loveless or FORTRESS ROUND YOUR HEART by Ida Maria for instance), this years top three records could have all easily taken the top spot. Ask me on any given day and I’ll pick one over the other. They were all stellar for their own particular reasons, but I put them in this order for only one.

Rock and roll is supposed to be risky. And to me my top choice is a record in which the musician put it all on the line. Had he failed, his fans would have started to doubt his choices, wondering a massive the “fuck the fuck,” and those who weren’t fans would never again give him a chance because he would have become a musical clown. This album divided many fans, enraging some. I know people whose musical taste I trust who were clearly pained to even give it a shot. I was one of those people at first. But upon hearing the record, I became a believer.

So, my list of the best of everything for 2014 begins with my top ten albums in order:

BEST ALBUMS:

  1. 1989 – Ryan Adams – I’ll admit right off the bat that I like the early Taylor Swift records, but I felt this newest effort was over-produced to the point of being unlistenable. I just couldn’t make it through the walls of processed instruments to get to the songs. But Ryan Adams could. He heard something in those tunes, and for whatever reason decided to deconstruct them, turn them inside out, on their ear, and makes them his own. The resulting album is stark and heartbreaking, his best and most consistent record since COLD ROSES a decade ago. How he manages to turn a song like SHAKE IT UP into something that would have fit perfectly on Springsteen’s NEBRASKA is nothing short of genius. When he sings “I’m just gonna shake” over and over again, the image is not of a model-esque blonde dancing awkwardly, but instead of a middle-aged man afraid to move on with his life. And the rest of the tracks just fall into place. Had there been no writing credits, and no fame for Taylor’s record, had people thought he penned these songs the acclaim would have been unanimous. I truly believe that because ultimately it’s a beautiful, brilliant record. And certainly the gutsiest move by any rock star this year.

  1. PAINTED SHUT – Hop Along – So I’m seeing this band live for the first time. Frances Quinlan and company take the stage and start up. But the moment she opens her mouth to sing we are suddenly transported into a horror film and she is the spawn of Satan. Or at least that’s how she sounds, though she certainly doesn’t look the part. And the music isn’t death metal but instead these well-crafted pop rock songs that just stick with you. Despite loving the record, seeing her sing live is an altogether different experience, and it takes me a couple of songs to get used to what I’m hearing versus what I’m seeing. And I mean this all as the highest of compliments. I fucking love Quinlan’s voice, and what she does with it. It’s unlike no other in rock. It’s as if every note she sang tore off a part of her vocal chords and she drowned her pain in cheap whiskey and cigarettes. She sings in sweeps and rages, melodies laced with enough dirty guitar and punk energy to keep you coming back for more. And there was no song THIS YEAR grabbed me by the throat like HAPPY TO SEE ME. The refrain of “We all will remember things the same” on endless repeat will either infuriate you, or thrill you as it did me. As the entire record did.

  1. KICKING EVERY DAY – All Dogs – Just as in Minneapolis in the 80s, and Chapel Hill in the 90s, there’s something bubbling in the water right now in Columbus, Ohio. All Dogs is the third Columbus band I’ve fallen head-over-heels for in the past two years. Maryn Jones and company play grungy/jangly pop rock,

  1. SPRAINED ANKLE – Julien Baker – This is the heartbreaker of the year.   “Wish I could write songs about anything other than death,” she sings in the title track, and that might be one of the lighter moments. A haunting small voice singing of rage and fear in a whisper with fingerpicked guitar out of the early Crooked Fingers songbook. A small masterpiece that will leave you teary-eyed, wanting to give Julien a hug.

  1. ALL YOURS – Widowspeak – Another haunting voice, more slightly off-kilter guitars, sounding like that indie band from the late 80s who never made it big, but only you knew about, and still to this day you put on their self-released cassette.

  1. HIGH – Royal Headache – This is the album that SO many other bands tried to make this year, but fell short.

  1. SOMETIMES I SIT AND THINK, AND SOMETIMES I JUST SIT – Courtney Barnett – Not as great as her last, but damn those lyrics and crunchy guitars. Rock star I’d most want to get drunk with (this year).

  1. FEELS LIKE – Bully – I kept fight this album because it’s on a major label, but it finally won, and beat me down, and stuck in my head. If you were disappointed with other riot girl sounding records this year, check out Bully.

  1. NEW YORK AFTER THE WAR – Jesse Malin – One of those straight-ahead rock and roll records that just kept sounding better with every listen. Just raw enough for the punks, just bluesy enough for the old-timers. Malin’s best record since THE HEAT. It fucking rocks!

10 – SUPERSONIC HOME – Adventures – More blessed noisy power-punk. How can you not fall in love with these songs?

And a special #11: MILEY CYRUS & HER DEAD PETZ

The other big career risk, Miley recording a 90-minute album with the Flaming Lips on her own dime, and giving it away for free. Has it been 45 minutes it would have tied with my top three. Some truly brilliant moments. Push aside your prejudices, and just fucking listen. It’s free!

Also worth a listen:

DRY FOOD – Palehound

COCKSURE – Laura Stevenson

DANGER IN THE CLUB – Palma Violets

IVY TRIPP – Waxahatchee

PREDATORY HEADLIGHTS – Tenement

and of course

STAR WARS – Wilco

 

MOST DISAPPOINTING ALBUM OF THE YEAR: (tie)

TOO – Fidlar – as many bands have proven, songs about drinking and fucking too much can work beautifully ON YOUR FIRST RECORD. Then it gets old, quickly. More of the same old shit. Loved it the first time around. The second time around it was just that: shit.

NO CITIES TO LOVE – Sleater-Kinney – I freakin’ LOVED this band in their hey day, but the new collection left me flat and only wanting to put on DIG ME OUT. Not one song connected, and I tried with multiple listens. I really wanted to love this record. I didn’t even like it.

 

BEST SONG OF THE YEAR:

HAPPY TO SEE ME – Hop Along – No other song resonated with me more. The acoustic song on one of the year’s best rock albums. A song that despite being stark reminds me of Hüsker Dü’s NEW DAY RISING in its closing moments. The same line over and over again, yet different every time, making you gasp each time at the brutal sarcasm behind the words: “we all will remember things the same.”

Other Great Songs:

THE GARDEN – All Dogs

SPRAINED ANKLE – Julien Baker

EX’S AND OH’S – Elle King

BEST COVER SONG (not counting everything on Ryan Adams’ 1989):

SHAKE IT OFF – The Screaming Females – yes, Taylor was the songwriter to cover this year, and here the Screaming Females not only give us a twist on the somewhat annoying hit song, they wring it out like a towel soaked in cheap beer and snap it back at your face. Almost everyone I’ve played this for has asked me to take it off, which means they must be doing something right. I love every irritating second!

BEST BOX SET/REISSUE/RECORD THAT DOESN’T FALL INTO ONE OF THE CATEGORIES ABOVE:

TRACE – Son Volt – A gorgeous reissue of a brilliant record. One that only sounds better over time. The included demos are eye opening, and the 1996 show from the Bottom Line in New York is awe-inspiring.

CURSE OF THE LOAF – Archers of Loaf – OK, I’m biased, but this two LP live show from 2011 captures the band at their best.  Sound is amazing, as is the song selection.  THIS is rock and roll!

BEST LIVE SHOW:

Any Lydia Loveless show. Look at it this way, if you love balls-to-the-wall rock and roll, if you love songwriting that rips your heart and mind in half then mends them back together with a surgical stapler, if you love a vocalist who can hold that one perfect note bringing a tear to your eye one moment then blow your ear drums out the next, if you love a band that every night plays as if they’re on the Titanic, it’s going down, and we’re all going to fucking die anyway, there’s Lydia Loveless, and no one else. The greatest bands I’ve ever seen live: Rod Stewart & the Faces in 1973, the Clash in 1978, the Mats 1985, Nirvana in 1993, Archers of Loaf in 1994, Wilco in 1996, to that group belongs Loveless and company. They aren’t just good. They’re life changing. (And yes, I’ll be completely biased and say the best of their shows this year was at Skully’s in Columbus and captured by my eight Who Is Lydia Loveless? cameras. They played every song desperate and beautiful, walking that rocky edge, until the end when they dove head first over the cliff and delivered ten minutes of the most chaotic rock and roll ever created on this sad planet. I love this band. I love this band. I fucking love this band. They own a piece of my heart.)

Here is Lydia with bandmate Todd May performing one of Todd’s songs:

BEST HOLLYWOOD NARRATIVE FILM:

THE BIG SHORT – directed by Adam McKay – I would rank this film as the best Hollywood film of the decade. A work of genius, with a truly amazing cast, brilliant directing, punk rock editing, and a script that made me jealous. The constant breaking of the 4th wall was the best I’ve seen since ANNIE HALL. They had me with Margot Robbie in the bubble bath explaining things to us. This movie just worked on every level. It’s so smart, with such an indie feel, that I truly can’t believe Hollywood had anything to do with it. See it and let your jaw drop.

BEST INDEPENDENT NARRATIVE FILM:

THE DIARY OF A TEENAGE GIRL – directed by Marielle Heller – Hardly a perfect film, its certainly flawed, but the performance by Bel Powley in the lead role is as good as any acting we’ve seen in this or any other year. It might be so good it blinds you to anything else that’s great in the film. It’s a career-making performance, bold, quirky, funny, sexy. Watch the film because it’s a very good film, walk away feeling as if you’ve witnessed a star being born.

My other favorite films of the 2015 were horror films. But three bloody visions stood out to me: the 80s horror comedy THE FINAL GIRLS from director Todd Strauss-Schulson, the creepy sexual thriller IT FOLLOWS from director David Robert Mitchell, and the absolutely hysterical and completely fucked up slasher comedy THE EDITOR from director Adam Brooks. All are more than worthy of your time.

Also STRAIGHT OUT OF COMPTON gets a serious honorable mention.

BEST DOCUMENTARY FILM:

I honestly can’t say any one documentary stood out above all the rest for me this year like FINDING VIVIEN MAIER did in 2014, but there were many very good films worth watching: THE AGE OF LOVE, a completely charming look at elderly speed dating from director Steven Loring; SIBLINGS ARE FOREVER, a stunning chronicle of the lives of elderly brother and sister farmers in Norway from Frode Fimland; BEST OF ENEMIES, an invigorating look at back to 1968 and ten debates between Gore Vidal and William F Buckley from directors Morgan Neville and Robert Gordon; and THE HUNTING GROUND, a devastating look at the overwhelming amount of rape on college campuses around American and how little is being done about it from director Kirby Dick.

As for best rock doc, while there were many I felt that were vastly overrated (the snooze-inducing COBAIN: MONTAGE OF HECK leads that list.) there was only one that blew me away, Scott Crawford’s mile-a-minute look at DC punk, SALAD DAYS.

BEST TV:

HOMELAND – Claire Danes and company somehow managed to almost equal their brilliant fourth season with episodes that left me needing a stiff drink. This is the best writing on television. And it’s timelier than the evening news. And I don’t know about you but waiting nine months to find out what Carrie does to Quinn is excruciating.

SURVIVOR – SECOND CHANCE – This show is my guilty pleasure. If you told me I could only watch one show on TV, I wouldn’t even hesitate to name SURVIVOR. Even came close to getting on back when the seasons were still in single digits with my brilliant audition tape titled: “I survived make a movie with Billy Zane, I can survive anything.” But all that aside, this season where they brought back the losers was nothing short of captivating right up until the final episode, when it honestly all sort of fell apart, and one of the characters worth rooting turned in a bully at the snap of a finger. But before that it was TV at its twisty, backstabbing, funny, moving best. (And Wentworth should have won. Just saying.)

JESSICA JONES – I’m so not into the super hero/super powers thing, but this show was so much more than that. Dark, so gritty most episodes left you needing a shower, and a killer performance from Krysten Ritter as the hard drinking, hard fucking, cynical, obscene, and wonderfully damaged title character. (Can we say, “New TV crush.”) The Netflix series was more noir than anything episodic we’ve seen in a long while. And I love film noir.

BOOKS OF THE YEAR:

This was very much a year of short stories for me. The three best new collections I read were: the massive COMPLETE STORIES by Clarice Lispector, A MANUAL FOR CLEANING WOMEN by Lucia Berlin and BARBARA THE SLUT AND OTHER PEOPLE by Lauren Holmes.

But I must also add, if like me you’d never read Raymond Carver, please do yourself a favor and pick up the collections WHAT WE TALK ABOUT WHEN WE TALK ABOUT LOVE and WILL YOU PLEASE BE QUIET, PLEASE? These contain some of the finest writing I’ve ever read, anywhere. If nothing else please read the story titled FAT in the latter. Masterful. If Carver were a punk band, he’d be The Replacements.

 

As for the rest of my 2015: I worked a lot. Traveled more than at any time in my life. Shot two features, and parts of two more. Found a couple of great new crew people. (Welcome aboard Colleen and Cassia.) Went on one of the most amazing drives of my life on Route 90 between Mobile and New Orleans. I discovered peach melba (thank you Dee and William). Lydia Loveless introduced me to the best pizza I’ve ever had outside of New Haven’s holy trinity at Harvest Bar & Kitchen in Columbus.   NHdocs, the documentary film fest I run with Charlie Musser, tripled in size. And Kris realized I wasn’t crazy when I told her she would fall in love with Missoula, Montana.

And next year holds a lot of promise. My 4th rock doc, WHO IS LYDIA LOVELESS, will premiere early in the year.

A DOG NAMED GUCCI will be released on all platforms (including a loaded DVD) in April.  (As will a very special song recorded for the closing credits.)

My pizza doc, PIZZA, A LOVE STORY, will premiere in June.

We’ll be announcing our next animal rights film sooner than later. I’m working on my first new book in a long while and a short story of mine will appear in a collection that should have Mats fans grinning ear-to-ear. Our dog Springsteen will no longer be an “only dog” early in the year as we add another furry member to our family. Kris and I will get at least some quality traveling in. And I’m pretty sure in terms of music something very REAL is going to top next year’s list.

Stay tuned; follow along on twitter and facebook.

Stay safe, healthy, sane, and happy. (Do yoga.)

 

 

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The ten best rock docs of all time (in my humble opinion)

Hopefully it’s pretty obvious from watching my three music documentaries (Color Me Obsessed, What Did You Expect, and Every Everything) that I’m not a fan of VH1-style where-are-they-now rock docs. In fact it’s pretty rare that I find a rock doc that catches my attention. Too many are made by fans that think their favorite band can do no wrong, too many feel like 90-minute music videos with wall-to-wall music, too many refuse to address elephants in the room like drug addiction or issues with record labels. I don’t watch a rock doc because I love the artist, I watch a rock doc wanting to see a great story, told by a filmmaker who actually knows what a three-act structure is, and who isn’t afraid to piss people off.

That said, here is my ten best rock doc list, in somewhat of an order:

The Devil and Daniel Johnston – Not only the greatest rock doc ever made, one of the greatest films of all time. A breathtaking look into the mind of a genius madman (or a madman genius?), the film presents Johnston with his mental illness very much intact. Heartbreaking one moment, hysterical the next, you feel as if your watching a living breathing train wreck as painted by Van Gogh. You just cannot look away.

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I Am Trying To Break You Heart – The filmmaking Gods were smiling down on filmmaker Sam Jones when he entered the studio with Wilco as they recorded their fourth album. Packed with pissing-match drama, the film captures the firing of the one bandmember who kept leader Jeff Tweedy in check, the dropping of the band from their label, the signing of the band by a new label owned by the same parent company, all while recording a record that topped virtually every top ten list for the year, in glorious black and white. Whew!

Stop Making Sense – Jonathan Demme’s film of Talking Heads’ 1983 tour is the greatest concert film ever made. No other concert film even comes close. Every other concert film is a snoozefest compared to this. (Am I making myself clear?) This is a masterpiece even for people who hate Talking Heads. This is genius filmmaking.

Anvil, the Story of Anvil – A real life Spinal Tap, a film that is so often cringe-worthy in the best way, a portrait of two life-long friends, two true believers. It feels real on too many levels because we all have musician friends who refuse to give up on the dream. Here are the poster boys. May they never give up.

Last Days Here – Quite possibly the greatest anti-drug film of all time, the story of Pentagram lead singer Bobby Liebling, a crack-addict living in his parents basement, and the one superfan who believes desperately that he can revive Bobby’s career. You will find yourself screaming at your tv, especially when you get to the film’s final act. A great film.

Shut Up And Sing

Shut Up & Sing – The backlash against The Dixie Chicks when they publicly insulted then President George W. Bush. Very much a look at the inherent sexism in the music industry and how it would have been fine for someone like Springsteen or Neil Young to speak the same words. Instead Natalie Maines and company received death threats and boycotts. Ultimately a story of triumph as their next record, “Taking the Long Way,” became the band’s best selling record.

DIG! – Seven years in the life of two bands who start out as friends. One becomes a bland sellout, the other remains difficult and brilliant and always on the brick of self-imploding. A wonderful look at art vs. commerce, selling out vs. sticking to your beliefs, and how there really are a lot of dickheads in rock and roll.

Don’t Look Back/No Direction Home – Two great films on Bob Dylan, which are so very much the complimentary opposite sides of the same coin. The first is probably the granddaddy of all rock docs with its iconic music video of Dylan flipping the clue cards during “Subterranean Homesick Blues.” And in the other Martin Scorsese gives us a three-hour plus look at one of the most important burst of musical genius the world has ever known. It could have been a boring mess, instead it is riveting from start to finish.

The Punk Singer – I truly love this warts and all portrait of Bikini Kill front woman Kathleen Hanna. The footage is amazing, Hanna is smart and captivating. You walk away finally understanding the Riot Grrrl movement, and digging Bikini Kill like you never thought possible.

Theremin

Theremin, An Electronic Odyssey – It’s as if Ken Burns decided to make a film about the strangest musical instrument of all time, starring a Russian inventor named Leonard Theremin, who in many ways was one of the first true rock stars. A completely entertaining bit of music history that you might not need to know, but you will be glad you do.

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The Tale of the Broken Neck

I spent a good portion of the past three weeks shooting WHO IS LYDIA LOVELESS?, which will be either my 13th or 14th completed feature film (depending on whether this or PIZZA, A LOVE STORY is completed first), and while I could share stories about the candid and amazing interviews with Lydia and her bandmates, or what a thrill it was to watch them record their new record, how freakin’ funny they all are, or even just how damn nice everyone is, I will instead share this.

The tale of the broken neck.

My crew arrived in Lydia’s hometown on Columbus on Sunday, June 14th, just in time to see Lydia and company perform at a free show.  But because of the ridiculous lack of cover on the stage, and the fact that is rained virtually every day I was in Ohio (and apparently always does in June), the show was a disaster waiting to happen.  Gear got wet, sound issues abounded because electronics don’t like getting wet, basically it was a cluster fuck on the part of the promoter.

When everything was finally working, and there was a break in the rain, an extremely frustrated Lydia and company managed to pull off their song “Wine Lips” (sweetly dedicated to a young fan), and a small part of another song before the clouds let loose with a torrential downpour.  Ben moved fastest, getting his upright bass under a tarp.  But as one of the dozens seemingly “in charge” of the event ran onto the stage and cancelled the concert, Lydia, completely frustrated by the events, threw her beloved Telecaster to the ground in anger.

For me, a lover of chaos in rock and roll it was a beautiful way to begin the trip.  My 5th Lydia show, only a song and a half long.  And as me and my crew walked back to the rental Jeep in the pouring rain, I couldn’t wait for the interviews to begin.

And this story might have ended there…

Until the next morning when I get to Lydia’s and Ben’s home, and checking out her office where the first of many interviews would be filmed, I picked up the Tele, making some stupid comment to Lydia about how indestructible they are.  And then it became obvious.  I noticed.  She noticed.  Fuck!  The neck of her favorite guitar was cracked.  Not a small repairable crack.  But cracked through and through on the headstock.

Now in my life I have certainly put my foot in my mouth many times.  But I don’t think I’ve ever felt worse about calling attention to anything.  Here we are about to begin the interviews, while I can see how truly upset she is about her guitar.  I felt terrible, even though I played no part in breaking it.

In the end of course, the guitar was quickly fitted with a gorgeous new neck.  The interviews were everything I wanted them to be and more.  I learned for the 1,843rd time this year to think before I speak.  And Lydia posted this on her Facebook page with a picture of the new neck: “New neck for my main squeeze. My guitar tossing days are over ‪#‎trymeditationforanger‬ ‪#‎onepunchloveless‬ ‪#‎whoamikidding‬

I even got to take home a little souvenir.

I don’t really collect much memorabilia anymore.  I have a few items from my favorites bands (y’know, The Mats, Archers, Wilco), but none of them have the meaning of this broken neck.

It sits now at the entrance to my office, the first thing I see every time I enter.

And it truly does represent the most rock and roll way imaginable to begin this film.

Broken Guitar Neck-small

 

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An open letter to my Color Me Obsessed fans

Hello,

I think I can probably qualify as a pretty big Replacements fan. I’ve loved them since about 1983. Have gone to every tour since, including every solo tour. So having watched and listened to Paul and company for that long I find myself not bothered one microscopic bit by this co-called break-up announcement. Why? you might ask. Because it’s the fucking Replacements. They live to fuck with us. That’s part of why we love them. Is there a more sarcastic genius on the planet than Paul? NO, there isn’t. So, my advice: everyone unruffle your panties, sit back, and wait. In the mean time, enjoy the music as you always have, enjoy the onslaught of live videos posted on YouTube, and be patient. What makes for great rock and roll is that you never know what’s going to happen next. And here we are…

Gorman Bechard
director, Color Me Obsessed

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An update that’s long overdue…

It’s been months and I apologize.

First off thank you to everyone who made the “Who is Lydia Loveless?” KickStarter such a success.  You guys rock.  As will this film.  We’ve set up a website here.

As I write this I’m listening to the gorgeous 6-LP “Live at Carnegie Hall” box set from Ryan Adams.  While I haven’t been in love with Ryan’s newest records, live he still astounds.  And live solo, he takes your breath away.  This is a truly magnificent record.

Ryan Adams

We’ve got a lot of film news.  Getting ready for the “A Dog Named Gucci” sound mix.  The closing credits song, which I’ve been hinting at for over a year is done.  It’s beautiful.  It will make you cry.  Dean Falcone did a brilliant job of bringing together this amazing collection of vocalists and musicians.  He’s my music producer of the year.  Wait until you see the list of people involved.  Wait until you hear the song!  Where and when you can see the film will be announced soon.  Keep an eye on the website.

And if you clicked that link, you noticed that we are throwing our second documentary film party in New Haven this June.  Yes, NHdocs returns.  For three days this time around.  So much bigger!  Admission is still free.  If you are in Connecticut, come and enjoy a collection of amazing documentaries.

Yes, “A Dog Named Gucci” is screening…but immediately before it we will present the World Premiere of the trailer for “Pizza, A Love Story,” our upcoming documentary on the holy trinity of pizza (Sally’s, Pepe’s, Modern).  Time to get excited.

We’ve also got two new films that we’ll be announcing soon…one that takes us back to Minneapolis, and the other…well, let’s just keep that one a secret for now.  Let’s just say it’s very “smart.”

All for now.  Thank you for reading…

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Lydia Loveless rocks her own documentary from COLOR ME OBSESSED director Gorman Bechard

FOR IMMEDIATE RELEASE:

COLUMBUS, OH & NEW HAVEN, CT: Filmmaker Gorman Bechard, who has chronicled three of the most influential bands in the history of rock and roll with documentaries about The Replacements, Archers of Loaf, and Hüsker Dü’s Grant Hart is turning his camera towards the future with his next film, WHO IS LYDIA LOVELESS?

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The feature-length documentary will follow Lydia Loveless and her band into the studio as they lay down tracks for their forthcoming record. Along with live performances shot specifically for the film and extensive interviews with Loveless and her band it will visit places integral to her musical development, delve into the realities of a working musician on the brink of major success, and answer the question: Who Is Lydia Loveless?

“Lydia is the future of rock and roll,” director Bechard explains. “She straps you onto an emotional roller coaster of love, lust, drunken mistakes, a little stalking, a lot of heartbreak, and you’re left breathless, stunned, happy to have taken the ride.”

Music journalists from SPIN to Rolling Stone have likewise raved, with her last album SOMEWHERE ELSE finding its way onto many of 2014’s Best Album lists.

“I’m excited to work with Gorman,” says Loveless. “He’s very passionate about music and about the true meaning and spirit of rock and roll.”

Bechard’s three previous music docs have all won critical praise. Rolling Stone called COLOR ME OBSESSED, A FILM ABOUT THE REPLACEMENTS one of “The Seven Best New Music Documentaries of the Year.” The Seattle Times raved about the “raw power and mesmerizing hooks” in his Archers of Loaf concert film WHAT DID YOU EXPECT? While EVERY EVERYTHING: THE MUSIC, LIFE & TIMES OF GRANT HART was labeled “beautifully sad” by The Village Voice.

“We have an AMAZING collection of rewards,” the director explains, “including a Lydia Loveless performance at your house for you and your friends.  If I weren’t running this KickStarter I would so be backing the project at that level.  Thankfully the reward includes a screening of the film, so I’ll get to be there.”

WHO IS LYDIA LOVELESS? will be funded via a KickStarter campaign that runs through March 18th. The KickStarter campaign can be found HERE.

Filming is slated for spring and summer 2015, with a premiere planned for 2016.

For more information please visit: www.WhatWereWeThinkingFilms.com

Or www.LydiaLoveless.com

 

 

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