Word: mash
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Dates: during 2000-2009
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Gab’s openness to experimentation extends not only to interpretations of music, but reinterpretations as well. When asked his opinion on the recent “mash-up” phenomenon, he said that, “It just opens up a whole new world. I mean, imagine [Nas’] Illmatic done as a rock record.” Before DJ Dangermouse released his Gray Album (a mash-up combining the Beatles’ White Album with Jay-Z’s Black Album), few people outside the underground hip-hop scene had heard...
...having split personality disorder could ever be a good thing, Blaine G. Saito embodies this possibility. A self-described “mish-mash of pulls,” he’s constantly torn in multiple directions—culturally, intellectually, spiritually. As an Asian-American, Hawaiian convert to Judaism, Saito sees the world not in black and white, but something more akin to complementary colors, like orange and blue. For all this conflict, though, Saito manages to put his tensions to good...
...average indie rocker, are mostly successful. It’s the sort of album Bright Eyes’ Conor Oberst would be writing if girls didn’t keep destroying him. The disc’s strongest element is its assonant buried melodies, formed by a rather unsettling mash of orchestral gestures and bloated guitar blasts...
...reaction of some critics to Kill Bill Vol. 1. With geysers of blood and a death count in the dirty dozens, with torsos sliced sideways and lengthwise, with a tongue yanked to Tex Avery--cartoon length and a 20-minute battle that boasts enough mangled bodies to keep a MASH unit busy for months, Quentin Tarantino's first film in six years tests both the rating board's tolerance (somehow, the movie got an R) and the viewer's stomach. The carnage is artfully arranged, but, some will ask, isn't there too much of it? Does it have...
...three-part documentary A Decade Under the Influence (Aug. 20-22, 8 p.m. E.T.) sees the 1970s in movies as an interregnum between the old studio system and today's blockbuster machine, when idiosyncratic directors were able to persuade the moneymen to bankroll dark, even cynical, movies like MASH and Network for a mass audience. It's a familiar thesis--see Peter Biskind's 1998 book Easy Riders, Raging Bulls--but well fleshed out with interviews with big names (Scorsese, Coppola, Altman) who rise to the always daunting challenge of explaining why their work was so darn brilliant. The best...