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Nick Parker

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Posts posted by Nick Parker

  1. On 5/19/2021 at 11:07 AM, Disco Stu said:

    I was listening to this guy play the incredible, classic 1913 rag "American Beauty" by Joseph Lamb and couldn't figure out why it sounded a little strange to my ears.  After a minute it dawned on me that he was swinging the sixteenth notes.  The horror!  What is this, that newfangled jass music?  *fans self*




    Here's the same piece played straight sixteenths, which is traditionally how rags are usually interpreted.




    Haha, I didn't realize this wasn't considered common. But you've already heard swung rags!



  2. Nothing's wrong with them, just never been really compelled by what they've got, musically.


    What I have been compelled by lately though is Thundercat's "Them Changes"! I love how the chord progression and off-kilter tone offsets a story about heartbreak. And true to my forum title...boy do I love that bass.

  3. 56 minutes ago, Naïve Old Fart said:

    Thanks for that @Nick Parker.

    Just a minute. Nick Parker? The JWfan poster?


    That's more apt, because that's all I ever was...and that's all I'll ever be.








    41 minutes ago, Nick1066 said:

    I think you could make a better argument that Alien3 is an AIDS allegory.


    But Aliens? In 1986? It was just beginning to enter the public consciousness at the time. I don't see it.


    Same, and even 3 is a stretch.

  4. 13 hours ago, Naïve Old Fart said:

    Wayne Shorter? The saxophone player with Weather Report? Interesting.


    I meant to reply to this with my earlier post, but it got erased in my draft.


    That's like just calling John Williams the conductor of the Boston Pops, but yes, the one and the same. ;)

    8 hours ago, crumbs said:

    Scott was clearly hitting the reset button and trying to tell a different story. My suspicion is the Alien elements were the least interesting aspect to him (hence his reluctance to reintroduce the tried and true Xenomorph). He seemed far more interested in exploring the religious allegory of it all, but clearly realised no studio would give him the funding required to make that film (without some tenuous relationship to an established franchise).


    That's one thing I kinda love about another set of space prequels made in the 21st century. As a strict prequel to the original trilogy, they suck pretty hard, and if you think about the details too hard they could actually lessen your appreciation of certain preexisting events and characters (what, so Yoda nearly kicked the Emperor's ass, lost to a very particular circumstance, said "This maclunkey, fuck" and just hid away on a desolate swamp for twenty years?)


    But Lucas also wanted to use them as an opportunity to explore something far more ambitious than laser ships and connecting the dots: he used the foundation he had set decades ago to tell the story of how a democracy descends into fascism. Does it gel with the previous movies? Hell no. But I enjoy them in a way similar to how I enjoy Rosencratz and Guildenstern as an existential riff on Hamlet. 


    That said, in Scott's defense, the original Alien was packed with symbolism of its own (some of which makes the movie way more disturbing to watch as an adult :blink:), and I've always rejected the obnoxious reduction of it as a "slasher in space". Hell, even Aliens pulls off a Vietnam allegory.


    So I _do_ think that the series is more explicitly ripe for the philosophical musings that Prometheus sets out...the major difference is that with Alien, it works on multiple layers, and can be enjoyed on each one. Prometheus?...not so much.

  5. 1 hour ago, AC1 said:

    The thing is Jeunet's style and tone aren't all that serious (unlike Fincher with Alien3). He's very much into enlarging or exaggerating, perhaps even caricaturing, so that's why it's better to watch Resurrection from his artistic point of view or to look at it as a director's movie. 


    Yeah, it almost feels like the same concept as Jaws 3, People 0. Resurrection was my first Alien movie, and I loved it as a ten year old.


    i like alien 3

  6. 3 hours ago, crumbs said:

    For the record I don't think Covenant is a trainwreck. It's certainly uneven and I think a far more interesting follow-up to Prometheus went begging. Killing Shaw off-screen and implying she became David's science experiment (or some proto-Queen to create the Alien eggs) was a cruel outcome for her character after everything she endured, made worse that her infertility was a plot point in the last film (salt in the wound, and clearly intentional from Scott). Yeah, David is a sociopath (I think he made reference to her inability to conceive during Covenant), and Fassbender nailed that performance, but it's a little exhausting watching his trail of destruction and descent into madness as the driving force of the prequels.


    It's so nasty and cynical, it really turns me off. I think it's not so much the subject matter, but Scott's approach to it. And it's a total copout.


    I used to say I heavily disliked Prometheus, but loved it. I think most of the criticisms against it are completely warranted, but dammit, seeing a glossy, REAL, sci-fi movie that's actually about something, with all the planet-exterior-shots-with-solo-oboe trappings to go with it,  in the 2010s? Yes please! 


    Shortly after the movie came out, Wayne Shorter said that he felt Scott hit a bunt with Prometheus so he could hit a home run with the sequel. I completely agreed...but we never got a real sequel, that actually committed to taking on what Prometheus posed. I remember around the time of its release, Scott mentioned how he wanted to use its place in the Alien universe as the basic stepping point to launch into a totally new direction...but as has been said before, the studio intervened, and whaddaya know, we end up with an actual Alien prequel.


    It will never happen, of course, but I'd still love a Prometheus 2.

  7. 2 hours ago, Disco Stu said:

    cc @Nick Parker very interesting to hear this arrangement/interpretation by a classical pianist.  He makes it sound like an impressionist Debussy-like piece.




    Ellington was very much inspired by Impressionists, but it's weird that it takes something like this for me to realize just how strong that link can be. Those cascading notes during the "B theme" are beautiful! 

  8. 6 minutes ago, GerateWohl said:

    The Joker score is pretty much just simply underlining what's very dark and difficult about it. Therfore, it is not enriching but just penetrating the experience. And that's what I didn't like about it.


    Not that writing a "compassionate" score is the only alternative, of course. Taxi Driver is a very rich score, for example, that does so much. It gives the down to earth bustle of NYC a larger than life presence as Bickle's manifested hell and purgatory. The theme has a longing for innocence and romance that is like a landmark we hear to see just how far Bickle's plummet into madness goes, until the theme itself drops down with him at the climax.


    For Joker, I thought it would've been really cool if they took an approach similar to Shirley Walker in the animated series:



    The juxtaposition between the sitcom breeziness of the music with Arthur's increasing disillusionment and insanity would've been so badass!

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