| ||||
|
Arts & Entertainment Books Comics Health & Body  MediaMothers Who Think News People Politics2000 Technology - Free Software Project Travel & Food  Columnists
- - - - - - - - - - - -
- - - - - - - - - - - - Also Today For a full list of today's Salon Media stories, go to the
Media home page. - - - - - - - - - - - - Search Salon - - - - - - - - - - - - Salon Columnists - - - - - - - - - - - - Recently in Salon Media Alt Alt Column Alt Alt - - - - - - - - - - - - - - - - - - - - - - - - |
Greil Marcus: Real Life Rock Top 10 | page 1, 2
"Generation to generation, nothing changes in bohemia," Nik Cohn wrote in 1968; that may be its allure. In 690 slides, Goldin takes the baton from van der Elsken, and while there's more sex, drugs and violence here -- and, since the story goes on, death -- the weightlessness of the boys and girls in "Love on the Left Bank" is missing. That's because the revolution those people counted on had, by Goldin's time, come and gone. The people in van der Elsken's book went on to make history; Goldin and her friends are stranded outside of it. In such a setting, it's fascinating, and heartbreaking, to discover which songs on Goldin's soundtrack emerge to take new power from photos of deadened lovers and defiant casualties, and which are just wallpaper. The winners, somehow made pristine: Dionne Warwick's "Don't Make Me Over," Petula Clark's "Downtown" (equally alive as the liberation theme song in "Girl, Interrupted") and "All Tomorrow's Parties" by Nico with the Velvet Underground. The first is a warning, the second a celebration. The third is a funeral: Its strength is in its time shift, its elegy for what has not happened, its certainty that all tomorrow's parties have already taken place. And the last song is Dean Martin's "Memories Are Made of This" -- which, following slides of cemeteries, coffins and a crude painting on a door of skeletons fucking standing up, can never have sounded so rich. 7) Michael Lindsay-Hogg, director "Two of Us" (VH1, premiering Feb. 1) A fantasy: In 1976, after years of estrangement, Paul McCartney and John Lennon meet at the Dakota in New York. They walk, they talk, finally they get out their guitars and then -- Yoko calls. From L.A. Where she's gone to sell a cow for half a million dollars. 8) Degrees of believability in Paul Thomas Anderson's "Magnolia" (New Line Films) 1. Fulfillment of Exodus 8:2. 2. Julianne Moore trying to kill herself because she feels so awful about being unfaithful to dying fossil Jason Robards. 3. The whole cast -- sentient, OD'd, in a coma, it doesn't matter -- reverently mouthing the words to Aimee Mann's "Wise Up." 9-10) Troxel vs. Granville before the Supreme Court, Jan. 12, and "Come Softly to Me: The Very Best of the Fleetwoods" (EMI) If you followed the coverage of this case, re the right of grandparents "to visit with a child over the objection of parents who have not been shown to be unfit," as Linda Greenhouse put it in the New York Times, you might have noticed one of the plaintiffs: a bald, stocky, tight-lipped man in glasses, Gary Troxel, 60. It was in 1958 that he joined with Gretchen Christopher and Barbara Ellis at Olympia High School to form the Fleetwoods -- before Sleater-Kinney, the best band ever to come out of Olympia, Wash. Over the next three years, chasing "Come Softly to Me" to "Mr. Blue" to "(He's) The Great Impostor," they would take the most obvious and commonplace sentiments and, floating them through doo-wop patterns, put them out of reach. "I saw him at an oldies concert about five years ago," Charles Taylor says of Troxel. "The 'Fleetwoods' were on the bill. (I have no idea if the two women were the same.) I fully expected it to be another depressing act. And he was wonderful. The voice was the same, and suddenly I was looking at a middle-aged man for whom none of the uncertainty of those songs had ever been settled." On the evening news shows, Troxel -- whose son had killed himself in 1993, leaving two children with their mother, with whom Troxel and his wife were now in dispute -- looked bitter, as if he had settled all questions in his heart and knew no one would ever feel as he did, as if he had nothing to say to anyone.
- - - - - - - - - - - - Sound off - - - - - - - - - - - - - - - - - - - - - - - - Search Salon | |||
 |
 |
 |
 |
|
