Classic bands like Def Leppard, Aerosmith, and Squeeze seem to have found a clever way to get back some of that royalty money they’ve been missing out on for all these years. While many of these bands’ record companies still own the master recordings that made the bands famous, most of the labels do not own the music itself. This means that a band like Def Leppard could decide to, let’s say, re-record their entire catalog of songs down to every last production detail to the point where the tracks are completely indistinguishable from the originals. We’ll call this the golden loophole. (more…)
Indie blogosphere darlings Yeasayer have bucked the boom and bust trend of internet hype once already. Following up their buzzworthy 2007 debut All Hour Cymbals with the grand experimental pop of 2010’s Odd Blood, the Brooklyn-based band proved that it’s possible to avoid the dreaded sophomore slump that too often accompanies massive amounts of online exposure. Now, more than two years later, Yeasayer are back with Fragrant World, their third full length and most ambitious record to date. We caught up with bassist Ira Tuton to talk album art, film scoring, and the process of writing and recording Fragrant World.
OS: During the writing and recording process, you guys reportedly had enough material to do two separate albums: one of three-minute pop songs, and the other of more experimental tunes. Which type of album did Fragrant World ultimately end up becoming?
IT: I’m gonna go with the poppy one, just because we’re dealing with hooks, refrains, verses, and choruses. I think we used a lot of the ideas involved with making an experimental record and translated those aesthetics into the format of pop songs. We just honed down our focus and both types of music kind of bled into each other.
OS: Is there any chance we’ll ever get to hear some of those sidelined tracks?
IT: Yes, totally. I’d also love to explore some long–form compositions in the future. It’s something we haven’t really done. There are a lot of things we haven’t done, so we have the opportunity to move in many different directions in the future. There are certain things that didn’t make the record that are going to come out in the next year. Right now, though, the whole focus is on the album first. There’s so much thought in terms of that, because it’s not just the release, but it’s also dealing with our live show, making sure the arrangements are where we want them to be, and perfecting the visual aspect of our live show. A lot of things are more pressing matters on our end at this moment.
Mark Wahlberg already knows a thing or three about reinvention. When he first burst onto the entertainment scene in 1991 as the leader of Marky Mark and the Funky Bunk”a two-hit wonder from whom nobody expected any kind of longevity, and afterwards as a Calvin Klein underwear model”few probably thought he’d be likely to succeed past the mid-decade mark.
Yet two decades later, he’s still here. He’s a movie star and a respected actor, a successful producer (of the TV series Entourage and Boardwalk Empire, and of last year’s Best Picture Oscar contender, The Fighter) and an Academy Award acting nominee (Best Supporting Actor for 2006’s The Departed).
His next project: making Justin Bieber a film star. “I see the guy and spent time with him, and you see what he does and how he does it,” Wahlberg told MTV News last year, “and then you actually have a conversation with him, and it’s there.”
Picture this (because Wahlberg already has): Bieber in a The Color of Money-type film, which Wahlberg is developing for Paramount Pictures, with basketball replacing pool. Bieber would take the Tom Cruise role, and Wahlberg would cast a formidable screen legend like Robert DeNiro, Robert Duvall or Jack Nicholson as the grizzled vet, the Color of Money archetype that finally won Paul Newman an Oscar in 1987.
It sounds like a dream job”for someone else. If Will Smith, Queen Latifah, Justin Timberlake, Tim McGraw and Wahlberg himself have taught us anything, when making the transition from music to movies, it’s best to start small. Both Britney Spears and Christina Aguilera tried to fulfill their film-star fantasy by starring above the title the first time out (in Crossroads and Burlesque, respectively), and thus far, neither one’s Hollywood dream has come true.
Enimen has yet to find a follow-up worthy of his debut starring role in 2002’s 8 Mile; the Hollywood heat surrounding The Bodyguard star Whitney Houston, set to test the acting waters again in a 2012 remake of Sparkle, quickly cooled after three films; Beyoncé has gotten plenty of acting work, but her Hollywood career has yet to generate any kind of major excitement; and Evita aside, Madonna has been most successful onscreen in supporting roles (Desperately Seeking Susan, Dick Tracy, A League of Their Own). Former American Idol contestant Jennifer Hudson won an Oscar her first time out for Dreamgirls, but what has she done for us lately?
That Bieber’s 2011 documentary/concert film, Never Say Never, was a major box-office success ($73 million in North America) indicates that movie-ticket buyers will shell out bucks to see him on the big screen. And he’s already had a guest-starring role in C.S.I.: Crime Scene Investigation. But pop stars are always booking cameos and story arcs in hit TV shows, and in Never Say Never, Bieber was literally playing himself. If Wahlberg is going to guide him through the Hollywood jungle, he’d be wise to pull out the map that he himself used.
For now, let somebody else drive. Don’t even let him ride shotgun just yet. Bieber would be better off in the backseat, cast in an ensemble movie where he doesn’t have to do all of the heavy lifting (see Taylor Swift in Valentine’s Day”on second thought, don’t).
When Wahlberg landed his first major starring role, in 1997’s Boogie Nights, he was directed by Paul Thomas Anderson (There Will Be Blood) and surrounded by highly esteemed talents like Julianne Moore, William H. Macy, Phillip Seymour Hoffman, Don Cheadle, John C. Reilly and a soon-to-be-briefly resurgent (and Oscar-nominated for the first time) Burt Reynolds.
Even after Boogie Nights, Wahlberg’s most notable films”I Heart Huckabees, The Departed, The Fighter”have featured plenty of Oscar-caliber talent. And in The Departed, it was Wahlberg, not costars Leonardo DiCaprio, Matt Damon or Jack Nicholson who walked away with the Oscar nod.
Good luck to them both. They’ll need it. Wahlberg may have proven that he’s a miracle worker by going from rapper to underwear hunk to Oscar nominee, but Bieber holding his own with a DeNiro or a Duvall or a Nicholson sounds like an almost-impossible dream.
10 Music Stars Who Deserve a Hollywood Big-Screen Test
1. Lady Gaga
Best Performance in a Video: “Paparazzi”
2. John Mayer
Best Performance in a Video: “Who Says”
Best Performance in a Video: “Blow”
4. Mary J. Blige
Best Performance in a Video: “Be Without You”
Best Performance in a Video: “Glitter in the Air” (live at the 2010 GRAMMY Awards)
Best Performance in a Video: “Warwick Avenue”
7. Fiona Apple
Best Performance in a Video: “Fast As You Can”
8. Richard Ashcroft
Best Performance in a Video: “Break the Night with Colour”
9. Roisin Murphy
Best Performance in a Video: “Overpowered”
10. Brandon Flowers
Best Performance in a Video: The Killers’ “All These Things That I’ve Done”