Released a year before the 40th anniversary, The Greatest Night in Pop (Music) shows why 80s musicians matter!
Available to View on Netflix
The story of how the song “We Are The World” was made is sweetly told in the documentary, The Greatest Night in Pop. With this retrospective, viewers can finally learn about the challenges in getting the huge, diverse crew of talents together. When it all started with the song released in the UK, “Do They Know It’s Christmas” we mustn’t forget about the follow up acts like Live-Aid and the impact that had for famine relief too. As for why it all happened mid 80s, that’s up to musical historians and socioligists to debate.
I’m more interested in the songs since it has to eventually come to some revelation, and this movie titled Open can close.
October Coast
Playing at select theatres now and VOD beginning Nov 7
Maybe what Kristina (Lindsay Anne Williams) has to do to get past her relationship woes is to “Open” her heart and go through the motions so she can heal. Although a certain Roxette song came to mind while watching this romantic comedy, there’s not much I could find that relates to this film’s theme. Instead, Mama Mia screamed at me, and ABBA’s music for that concept album is still playing in my head as I write this review.
Although this character drama describes itself as Marriage Story meets Scott Pilgrim vs the World, I’m sensing other works were also an influence. The New Wave, Jazz, Country and Punk driven music video dream-sequences sets this work apart from others I’ve seen. And although the composition of these songs aren’t as snappy at the start, as long as you’re willing to wait it out, the scores get better! The early tracks are too heavy in psychoanalyzing what this protagonist is feeling, and honestly, the later tracks improve so that what’s felt is like a day tripper! But as for whether this work is meant to be a tribute to musicals, I doubt Miles Doleac had that in mind when directing this film.
Everything you want to know but were afraid to ask about what went on behind the scenes and in the evolution of heavy metal is well accounted for in Sean Kelly’s Don’t Call It Hair Metal. This deft exploration of the 80s music scene in 320 page book published by ECW Press is great at delving into the origin of many famous bands from the 70s onwards. From Slade to KISS to Ozzy Osbourne’s solo career after Black Sabbath, the examination even dives deep to reveal something new about each act that I’m a fan of.
This book isn’t about random bits of trivia. It’s an excellent scholarly study on why a lot of bands are still performing. What they produce is for the love of the sound, not the look, or even the glam that shook up the stage to draw in crowds. Alice Cooper is the godfather of the scene for a reason, and we get some great stories from various talents remembering those times.
Instead of exploring the decade as a whole, each chapter deals with a few years at a time. We get even more studies about how talents like Randy Roads developed their signature sound, and the interviews from industry observers and other fellow guitarists only add to the picture. Whether that’s about their heydays or something anecdotal, I’m certainly enjoying this read. It’s best not to power through this book, either, as there’s a lot of terrific quotes from the talents Kelly interviewed.
This author’s journey to the heart of rock and roll is the same as mine when when I discovered heavy metal at an early age. And to hear the stories about how some bands persevered is sweet. Also, to read about what this author believes are the best platinum hits only affirms why I loved one album over another. For me, Def Leppard‘s Pyromania will always be my number one album to put on the turntable. Twisted Sister never came into my radar until “We’re not Gonna Take It,” and watching them transform into a glam act; but after a while, they took the makeup off and went back to the sound that is their roots.
As this book insinuates, it’s not about the hair, but the intention of why each group wanted to make a dent in the industry. Poison and Ratt were huge during this time, and it’s not because of the acts put on stage, their life behind the scenes or something else. Regarding the former, Brett Michaels’ journey is a book in itself, and it’s been looked upon in those documentaries made by VH1.
Even MTV’s influence is recounted here, and without them and the music videos which showed these bands at their craziest (or best), I doubt this era would be remembered fondly. Kelly’s love for the genre and his personal journey makes for the perfect narrative device to move readers year to year, and I suspect writing Don’t Call It Hair Metal took more than a a year to craft. Although the preview edition doesn’t contain any snapshots, that may change when the hard copy finally comes out.
The Easter eggs contained in Unusual Findings are perfect! The 16-bit iconic posters, art, or something of the era are lovingly rendered.
Available on All Major Videogame Platforms
Epic Llama Games‘ Unusual Findings is a loving tribute to all things’ 80s, and this video game also shows what Netflix’s Stranger Things would be like had it been one. Here, you play as a group of boys (based on how far I got with the game, no girls join in) as they explore their town while looking for answers to a possible UFO crash nearby.
Even the soundtrack is similar. Thankfully, I’m sure no one is going to send lawyers after this developer. Also, I don’t think what’s composed here can be authentically recreated. The Commodore 64’s SID chip rivals some modern synths, but to do what this video game does requires some level of authenticity.
Much of the gameplay is determined by a simple point and click interface. A round option menu appears when you press the interact button. You can look at or blow on the item being stared at. Also, if you miss one part of the conversation, it won’t impede getting to the end. They provide clues on how to solve puzzles. It’ll also help hone a player’s logic and critical thinking skills.
Tuesday Knight and Lisa Wilcox are just a part of the massive team of ‘Dream Warriors’ from the Nightmare on Elm Street franchise that’ll be appearing at Hex Calgary.
Appearing at Hex Calgary, Oct 11 to 15th!
Tuesday Knight and Lisa Wilcox are just a part of the massive team of ‘Dream Warriors’ from the Nightmare on Elm Street franchise that’ll be appearing at Hex Calgary. This first annual event is already huge with a guest lineup spanning different eras of horror entertainment in film, music and much more. Together, with Robert Englund, Andras Jones, Brooke Bundy, Brooke Thiess and Danny Hassel (to name a few) are just part of the line-up of guests under this banner and the panel is sure to be spectacular, now matter how you slice it.
However, for these two leading ladies, they are the heroines. In the movie, it was a passing of the torch from one Master/Mistress of Dreams to another to defeat Freddie Krueger. The relationship they shared on screen and off was unique. In the real world, they are business partners in a jewelry firm and they are also reuniting for The Bloody Man, a new horror film which pays tribute to all that’s bloody iconic from the 80’s.
The Stardust Brothers originally released in 1985 and to obtain the music, fans have to import it from Japan or subscribe to a service from this country.
First off, it must be said that The Stardust Brothers have no relation to Ziggy, and nor are they firmly rooted in 80s nostalgia. Instead, what we get in The Legend of the Stardust Brothers (星くず兄弟の伝説) is a movie that’s simply bonkers. In what I found is a sprinkling of inspiration from Spinal Tap, a weighty nod to The Blues Brothers and a zaniness from The Beatles’ A Hard Day’s Night.
Here, two relative unknowns–a crooner Shinga (Shinga Kubota) and a punk rocker Kan (Kan Takagi) from rival pop bands–are paired into a hilarious manzai synthpop singing duo. To understand their rise to fame is far too gonzo and all I have to say is that this film is an experience–beginning with a black and white sequence until colour is splashed on screen–about these two parading their music to unimpressed lounge patrons. Where they are performing is ironic, and if the audience they are singing to care, I’d be surprised if they get an ovation. As any band will tell you, life after that initial moment of fame is different.
Available to View on Netflix
October Coast
Available on All Major Videogame Platforms
First off, it must be said that The Stardust Brothers have no relation to Ziggy, and nor are they firmly rooted in 80s nostalgia. Instead, what we get in The Legend of the Stardust Brothers (星くず兄弟の伝説) is a movie that’s simply bonkers. In what I found is a sprinkling of inspiration from Spinal Tap, a weighty nod to The Blues Brothers and a zaniness from The Beatles’ A Hard Day’s Night.