#i’m nothing if not a lover of 2hb

[didntyoubelieveinme]

i posted this yesterday but it flopped so i’m posting it again!!! 🤭🤭

In velvet goldmine, we see 2HB being used (technically??) in three different scenes. The first time is when we see brian preform (chronologically), second was in the bar restaurant thingy curt and arthur were in, and the third time was at the end of the movie when jack fairy preforms

The first time this song plays, it sets up the major use of it further in the movie. We see it when brian is very new to making music and performing, this idea of the early days. Before he was taken over and changed by playing as maxwell demon. This was before maxwell demon was even a thought. He was just brian.

A big point made in this movie is the change between decades. The 80s is depicted as this grayer and duller era while the 70s an era of expression and creativity. At the end of brian’s interview, mandy says, “for the first time in brian’s life, he was simply telling it like it was. did he realize what he’d actually done? how could he have? i mean today, there’d be fighting in the streets. but in 1972… it was more like dancing.” 2HB is used as this small bit of the past, of what was before.

The second time we hear the song was with arthur and curt. The entire scene plays as this sense of regret and what went wrong. They then have their whole conversation, and we have the very iconic quote, “we set out to change the world, ended up just changing ourselves… what’s wrong with that?… nothing, if you don’t look at the world.” We then get a longshot of all the other tables and people. With the grays and the dull colors you get more imagery of just how much is different. In the end the world did change, just never how they expected it to. Curt mourns the past while brian appeals to the present, ever craving for fame.

As curt gives arthur the pin from brian, someone plays 2HB on the jukebox and, after this entire conversation about how things have changed, its almost this blast from the past—how things started out, how they used to be beautiful.

The last time we hear this song is in the ending sequence of this movie. We see jack fairy singing it and as we do, there is this backdrop that projects the faces of the big glam rock stars in this time period. The scene then fades into the same sequence we saw from the beginning of the movie, and as the shot pans into a radio that no one is taking the time to pay attention to, we see just how much things are different. It will never be like it one was, but we’ll have this one thing. Their music will forever be an echo of the past, no matter how much the world changes they will have always happened.

[phantasmagloria]

All right now,

For all you boppers in the big city, this is the Soundtrack Special. Seems appropriate, as some really incredible music has been written for the big (and small) screen.

We kick it off with a retribution concept that’s dear to me, followed by the bombastic opening music to Preacher. I was thrilled when they announced that the amazing comic book series by Garth Ennis and Steve Dillon would be taken to the screen, though I was initially a bit disappointed with the result. I was expecting something closer to the graphic novels, though I did eventually warm up to the series and I look forward to the next season. Cassidy for eva!

We also listen to something from the empowering cult movie Faster, Pussycat! Kill! Kill! that made quite an impression on me when I saw it in high school. Another movie that really stuck with me was Sweet Bunch, by Nikos Nikolaidis, one of Greece’s greatest underground and experimental filmmakers. His whole filmography is deeply interesting and I highly recommend it. Fear and Loathing in Las Vegas could of course not be missing from this show – I’ve been a Gonzo fan for half my life, and the soundtrack to that movie is part of the fabric of the stories he tells, whether real or parts of an unwinding drug trip.

The Craft was also one of my favourite movies growing up (Fairuza Balk was my style icon!) and I always remember that scene where the mother says, “Since I was a little girl, I’ve always wanted in life a jukebox that played nothing but Connie Francis records.” How delightful. The proverbial adult apple didnt’t fall too far from the teenage entertainment tree, and now I indulge in Good Behavior, a show about a woman called Letty Raines and her poor choices. While I can relate to some of the storyline, I mostly watch it for the (mildly fucked up) relationship Letty shares with Javier. As with Weeds, the opening music of which we hear at the end of this show, I’m drawn to good-looking South American male characters.

If you’ve ever been to New York and not seen The Warriors, then what the hell are you doing with your life? The radio scene, with Lynee Thigpen’s face only visible from the nose down, is both weirdly sensual and also a highly appropriate way of showing the power of the radio. Familiar voices without a face, trusted company in dark or lonely times, and often a guide towards the light. Though we didn’t include the blind radio producer from the epic movie Vanishing Point, he alone is reason enough to prep a second soundtrack special in the future.

Of course we also check in with classic composers like John Carpenter, John Williams and Mark Snow (obviously I’m a massive horror, Star Wars, and X-Files fan), and though admittedly we don’t delve too deep into the soundtracks of cult Italian cinema from the ’60s and ’70s, we will be dedicating a whole show to the many great composers of that time (Morricone, Alessandroni, Umiliani, Piccioni, Ortolani, etc) as their scores deserves more attention.

We also pull some tracks from television, namely, the killer new show Stranger Things (a nod to the analog age, as evidently heard in the warm sound of the synths used in the theme music) and the equally addictive The Expanse, taking place in a future time of a colonized solar system and one of the few sci-fi shows that actually takes space physics into consideration (like different gravitational forces, time warping, vacuum pressure, etc). The song we hear is “de new banga, fresh outta Eros! … Hottest beats-maker on Tycho.” On that note, if you’re into string theory and/or the interaction of multiple dimensions, I recommend the movie Interstellar (with music by Hans Zimmer of course). Lastly, we couldn’t exclude Akira and The Ghost in the Shell, two Japanese anime movies that became famous for their stunning, detail-heavy animation and their gripping music scores.

We draw to a close with a couple tracks from The Nile Hilton Incident (an excellent 2017 Egyptian movie, a must-watch for noir fans), Only Lovers Left Alive (now a classic among Jarmusch and vampire lovers alike) and Baby Driver (an unexpectedly great movie with a sort of timeless aesthetic and well-picked soundtrack).

Of course there’s lots more to listen to, from Mulatu Astatke and Philip Glass to Goblin and T. Rex, so click that Play button for two hours of cinematic brilliance. This week and moving forward we return to one-hour shows (quality trumps quantity) and we’ve got a couple guest shows in the works in preparation of a special live show, hopefully coming to Athens in April – so boppers, stay tuned!

With love from outer space,

—Obsessionist

SS_34 TRACKLIST

ALAN FORD – Nemesis (Snatch) DAVE PORTER – Preacher main title theme TEO USUELLI – Alla Ricerca Del Piacere Seq. 3 IGOR KANTOR, BERT SHEFTER & PAUL SAWTELL – Mysterioso Minor (Faster, Pussycat! Kill! Kill!) RIZ ORTOLANI – Theme from Fantasma D’amore ANGELO BADALAMENTI – Dinner Party Pool Music (Mulholland Drive) GIORGOS HATZINASIOS – Theme from Sweet Bunch JOHNNY DEPP & RAY COPPER – A Drug Score Part 1 (Acid Spill) (Fear and Loathing in Las Vegas) CONNIE FRANCIS – Fallin (The Craft) SEINABO SEY – Hard Time (Good Behavior) TEO USUELLI – Alla Ricerca Del Piacere Seq. 15 LYNNE THIGPEN – All You Boppers (The Warriors) BARRY DE VORZON – Theme from The Warriors ZOMBIE ZOMBIE – Halloween main theme) MICHAEL STEIN & KYLE DIXON – Stranger Things Theme (live at the ASCAP Screen Music Awards) MARK SNOW – I Want to Believe (UNKLE remix) JOHN CARPENTER – Theme from The Fog CLINTON SHORTER – Eros Song (The Expanse) TSUTOMU ŌHASHI – Kaneda’s Theme (Akira) KENJI KAWAI – Chant 1 – Making of Cyborg (The Ghost in the Shell) PHILIP GLASS – Mishima Closing (Mishima) GOBLIN – Suspiria (Celesta and Bells) KENJI KAWAI – Nightstalker (Ghost in the Shell) RY COODER – Theme from Paris, Texas T. REX – Cosmic Dancer (Billy Elliot) ARIEL PINK – Baby (I Do…Until I Don’t) LOVE – Always See Your Face (High Fidelity) NICO – These Days (The Royal Tenenbaums) THE VENUS IN FURS – 2HB (Velvet Goldmine) LOUD REED – This Magic Moment (Lost Highway) ANGELS & PETER SKELLERN – One More Kiss Dear (Blade Runner) ANGELO BADALAMENTI – Rita Walks – Sunset Boulevard – Auth Ruth (Mulholland Drive) BONNIE BEECHER – Come Wander With Me (The Twilight Zone) MELINA MERKOURI – Agapi Pou Gines Dikopo Macheri (Stella) IBTIHAL EL SERETY – Gina’s Song (The Nile Hilton Incident) YASMINE HAMDAN – Hal (Only Lovers Left Alive) MULATU ASTATKE – Gubèlyé (Broken Flowers) DAVID MCCALLUM – The Edge (Baby Driver) JOHN WILLIAMS – Binary Sunset (Star Wars IV: A New Hope) MALVINA REYNOLDS – Little Boxes (Weeds)

Listen back to Storm Stereo 34: Soundtrack Special, featuring music from sci-fi, cult and indie films, plus TV show themes, Japanese anime, and much more. All right now, For all you boppers in the big city, this is the Soundtrack Special. Seems appropriate, as some really incredible music has been written for the big (and small) screen.

[didntyoubelieveinme]

SPREADING VELVET GOLDMINE TO THE WORLD RAHHHH 💪💪💪