Does it bother you when music gets associated with stupid tv shows/movies?

“The world is gonna ruin your special precious thing. If it hasn't happened yet, it will. Nothing will be spared.”

similar vibe:

”Dog carcass in alley this morning, tire tread on burst stomach. This city is afraid of me. I have seen its true face.”

(Music cue: Hallelujah, Hallelujah…)

My desire for scoring is more about having more new and interesting things to listen to, rather than a deep hatred of the other option.

This was my first thought too.

I guess 'Baby Driver' comes to mind as an example of a jukebox style soundtrack- when that cane out, a friend asked me how come all of a sudden every time he goes to a bar in Brooklyn he hears 'Bellbottoms' by the Jon Spencer Blues Explosion and everyone in the place goes mad for it.

I love the track and loved the movie and thought it put the jukebox sountrack and 'Bellbottoms' in particular to excellent use. And I don't think the movie "changed" the song by adding to it or casting it in a new and different light, for better or worse. It's just that there are certain associations with a song, not so much the personal kind of associations but a cultural context that can be complex and nuanced, or subtleties around an artist. And that language of hyperlinks within a song can be engulfed by its placement in a movie. That stuff is in there to be discovered, sure, but it feels alienating and unpleasant to realize that a song you love doesn't actually need all the things you've taken away from it.

There were a few songs 'Baby Driver' made me want to revisit, and for the most part they were the songs I'd only experienced and understood as part of jukebox style comps such as "Rockin 70's"

Marie Antoinette reminded me that "I Want Candy" is basically an unfuckwithably perfect pop song.

The 24 Hour Party People liner notes ("what were 'liner notes,' Grandpa?) Recounts how Tony Wilson was watching the movie Heat. When the Moby cover of "New Dawn Fades" came in, he was like, "fuck me, it's one of ours!"

Etc.

People discover things the way they encounter them. Let a thousand different ways of engaging with music bloom.

I recently accompanied a teenaged singer on "Make You Feel my Love" and she introduced it as an Adele song. I successfully repressed any impulse to ACKSHUALLY that moment. It was freeing.

It seemed such a weird choice for Ms. Marvel to start off with that Weeknd song that's been inescapable for a few years.

― rare lipstick or mohawks that somehow make them more valuable (President Keyes), Wednesday, June 15, 2022 9:58 AM (ten hours ago) bookmarkflaglink

i read this as ms. maisel hahaha

A+ mashup potential right there

Jukebox soundtrack >>>> bombastic Hans Zimmer-y scoring IMO

I'm not making fun, but would some of you say that a feature of hearing a familiar song in a movie is a vicarious enjoyment through the ears of a theoretical novice, who doesn't know the song?

I'm not making fun, but would some of you say that a feature of hearing a familiar song in a movie is a vicarious enjoyment through the ears of a theoretical novice, who doesn't know the song?
― Halfway there but for you, Thursday, June 16, 2022 4:53 AM (four hours ago) bookmarkflaglink

I think that is part of it. When you know the song, it seems that the movie is sneakily introducing it to a new audience by putting it in the background, and that's a positive. As opposed to a blunt introduction with no context, where the probability of rejection from the novice appears greater. At least often when I play something to someone, a strange vibe of expectation and uncertainty comes in and I myself begin to hear the song differently by imagining how it sounds to the other person, with the fear that the person will not like it, and sometimes it's like a self-realizing prophecy. With a film it's not like that, maybe just the risk that the person will not notice the song, but there's something cool in bringing the music.

I'd be more gung ho about scores vs jukebox if there was more creativity in the scoring world these days. As it is I'll take some cool needledrops over Hans Zimmer or yet another mediocre synthwave soundbed.

The uses of "Hallelujah" are an example where it IS annoying but that's because they're mostly totally deaf to what the song's actually about, and not in a poignant ironic way either, but I guess the Buckley cover did the damage on that one really.

"Hallelujah (The Shrek Song)"

Lol yeah, it's like nobody remembers the "remember when I moved on you" verse

"Hallelujah (The Inspirational 9/11 montage song)"

Just saw a trailer for a new doc all about that song.

Remember when Shrek moved on you
And holy donkey was moving too

shrek is terrible and john cale is a gem, but honestly it's john cale i blame for ruining "hallelujah"

Supersonic Rocket Ship is not a relatively unknown Kinks song that deserves to be one of their most played

Well you play your Buckley, Rufus too
you play that guy from the VU
But you don't really like the original, do you?

i don't want to imagine Shrek fucking me thanks

Probably the biggest difference between you and the younger generation tbh

I winced when I heard "Corona" on Jackass and "In The Street" on the 70s Show, but knowing that the Boon Family and Alex Chilton were getting royalty checks made it easier to take.

― pplains, Wednesday, June 15, 2022 10:15 AM (yesterday) bookmarkflaglink

they're also both perfect theme songs for their respective shows

Sure, but I wish I didn't see that Jackass intro in my head whenever I listen to Double Nickels.

A want tae fuck ye like an animal

xxpost

The pov that Leonard Cohen songs are better when performed by Leonard Cohen is not one I will ever fully understand.

Dunno that I'd make this a general rule, just think that in this case the soulful, reverential take that Buckley and most after him took is grotesquely ill-suited to the song.

Not sure I see why Cohen's delivery and Casio presets suit it better.

I never actually listened to the words to this song so not quite sure what it's about, just guessing based on the authorship.

gunslinging

Insofar as I can make out what they're saying, it seems to be about the experience of being awestruck and humbled in various situations, historical, mythical, or personal, so soulful and reverential doesn't seem that inappropriate to me; I'm not even sure it's not what Cohen is going for in his chorus. Reading it as just about sex doesn't seem more correct to me than reading it as just religious (and those drum sounds are the least sexy sound I can imagine anyway).xp

I think the focus on "sex" was more Cale/Buckley's thing, though it is of course definitely a part of it.

that's why so many people masturbate at funerals when it's played

I keep wanting to say something about the actual thread topic but I'm having trouble forming an opinion, which I think means it doesn't bother me.

Not sure I see why Cohen's delivery and Casio presets suit it better.

agree to disagree. john cale's choice to sing the chorus an octave lower sucks the life out of it IMO

? he's singing it in the same octave as Leonard. unless there's a different version I haven't heard.

it's just that Leonard Cohen sings the verse in a lower octave than Buckley/Cale, so he's actually jumping up one during the chorus, whereas the other two aren't.

Y'all just hate Shrek.

Since this has become the "Hallelujah" thread, I thought that Cohen's original verses were much more sex-oriented than the alternate verses he provided to Cale.

shrek is the first place i ever heard "hallelujah" in any form. also the first time i'd heard any version of "i'm a believer."

don't worry, i'd heard "all star" by smash mouth before

i know, somebody once told me

The real John Cale “hallelujah” song:
https://www.youtube.com/watch?v=r9IKnVVRsmk

hate to say it but that stupid Kate McKinnon sketch using the song right after Trump won just ruined that song forever for me

that's why so many people masturbate at funerals when it's played

― Slowzy LOLtidore (Neanderthal),

ah ok i was wondering about that.

i don't want to imagine Shrek fucking me thanks

― Slowzy LOLtidore (Neanderthal)

you know i didn't ever consider that would be something i might think about until two hours ago and yet here we are.

I enjoyed hearing weird Al’s “my bologna” in stranger things

To that end, it helps that the Shrek voice and the Fat Bastard voice are one and the same. xp

whenever i hear "hallelujah" anywhere i mentally substitute the can song "halleluwah", this makes it tolerable. if this isn't your preference, feel free to swap in the jeff buckley song "murder suicide meteor slave".

that volvo commercial that used zoogz rift's cover of tim buckley's "look at the fool" ruined the song for me. now every time somebody covers that song on the "voice" they do zoogz' version and it's like, why, zoogz rift couldn't even fucking sing! i know that tim buckley was well past his loss.jpg peak by the time he recorded that song, but he was still a better singer than zoogz!

some day "all flowers in time bend towards the sun" will actually be released and people will be so mad even though everybody's heard it by now

I guess the bone I have to pick with Stranger Things is that all the music in it is good & extremely hip, which makes sense because the creators (much like myself) were born in the 80s and therefore likely discovered the best stuff after it was all curated for them somehow. but the 80's had a lot of real shitty music too, and looking at the charts it must've been on the radio all the time, yet in the Stranger Things universe it's stuff like Joy Division and Kate Bush and The Psychedelic Furs. kinda gives me a Ready Player One vibe I guess.

it's just that Leonard Cohen sings the verse in a lower octave than Buckley/Cale, so he's actually jumping up one during the chorus, whereas the other two aren't.

― Slowzy LOLtidore (Neanderthal), Thursday, June 16, 2022 11:58 AM (one hour ago) bookmarkflaglink

this is what i meant, sorry