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Rotten Tanx wrote: And I'm glad that The Dandy Warhols got fucked over by the label (in America at least), otherwise it would have been the story of one band failing and another succeeding, whereas for a while it was two bands failing, just on different levels. The Dandys prevailed eventually because they kept their shit together and showed some humility every once in a while.

To revive a long dead thread...
I just saw this last night. I don't recall a lot of humility. I do recall a lot of bitching about how record executives don't understand the creative genius of Courtney Taylor.
I also recall the girl talking about how lucky she is to play in the "greatest band in the world."
I also didn't get the feeling that the Dandy Warhols got "fucked" by their label in America. They just didn't get as big in America as they did in Europe. They did, however, get a $400K budget to make their silly little video with some dickhead fashion photographer.
I felt bad for the BJM guy, although his music is derivative horseshit, because he seems truly disturbed. He struck me as a person who genuinely needs medical care.
I also feel compelled to point out what a fucking stroke that "Matt Hollywood" guy was. The John Lennon glasses alone are reason enough for a punch in the throat.

Finally saw this movie.

Not crap.

With all the discussion of the bands involved, most of which I agree with, I just wanted to point out that the industry guys are worse.

All in all, it's an excellent dissection of the music industry. The fact that the bands are both distasteful is irrelevant, and the Dandy Warhols are actually perfect for the film--they are exactly the kind of band that can do OK within the biz framework.

Two crap bands...one not crap movie.

Newcombe is just scary.

I saw Anton Newcombe once on Arte, a French channel. They were doing a documentary on 'slacker rock', pretty boring for the most part, but the part with Anton was not to be missed.

The Arte crew approached him after a concert asking if they could interview him, and after about a million 'fuck yous' he just sat down on the stage in front of them, pouring vodka in plastic cup. "No, I don't give a fuck if you film me while I'm doing this," he said. He continued to go on complaining about the media and publiciity with heavy profanity, none of which was excised on European TV. At the end, he just said, "Fuck it, I'm sick of you French people," and took off, but then he came back a while later and started screaming at the camera once again:

"And you wiggers.... Chillin'... Illin'.... Zillin'.... FUCK YOU!!! FUCK YOU!!!!"

Jumping up and down with both middle fingers right in the camera. It was priceless. A bit enigmatic why he was on about wiggers all of a sudden, but to me, that's part of the beauty of it.

i still have to watch this! funny about the controversy anton tried to stir up. i admit i can't help but like bjm sometimes, and a hell of a lot more than the dandy warhols, blech. and it seems like it'd be really funny, but that's just a total guess.

this movie does a great exposition of two different breeds of delusional rock ego: one self-destructive, the other vainglorious.

I also kind of like the funny tambourine guy in BJM. Anton Newcombe gets into a fistfight with his own bandmate on stage and he's just standing there, smoking a cigarette, like, shaking a fucking tambourine. I think he might be the smartest character in the movie.

The haircuts in both bands must be seen to be believed.

I've only seen about 1/2 this movie, but I can remember all the New Music Seminar/CMJ hype around both these bands, and being pissed off that people weren't getting all apeshit about whatever bands I was really into at that time.

The Dandy Warhols opened for Sonic Youth at some "secret" gig once, and I was so bored by them I had a beer. That's how bad they were.

I have to say, one of the Brian Jonestown Massacre songs has gotten under my skin a bit. "Anemone" is the one.

There's something there musically, I think. I haven't heard anything much beyond what is in the movie, though.

Dandy Warhols, not so much.

tmidgett wrote:I have to say, one of the Brian Jonestown Massacre songs has gotten under my skin a bit. "Anemone" is the one.

There's something there musically, I think. I haven't heard anything much beyond what is in the movie, though.

Dandy Warhols, not so much.

I think Anton is in some ways a sympathetic character, definitely a twisted object of pathos in the film, fucked behavior and music taste aside... it's tough to take, but evident vis-a-vis his tendency to indulge in self-loathing and openness to blaming his problems on his parents and childhood... these are not the most mature ways to deal with personal issues, but I think making music for him is very genuinely a necessary catharsis. He strikes me as the type of person who might not survive for very long in this world if he didn't have music putting him on his feet every day. I believe Iggy Pop said once said something similar about his young self.

Ondi Timoner, the director, commented that she recognizes Anton as the "real deal," I think meaning insofar as his position as an artist genuinely committed to his art. She also, however, commented that he was full of shit when he said, "I'm not for sale, man!"

The Dandys, well, they know they're for sale, and embrace it.

gio wrote:He strikes me as the type of person who might not survive for very long in this world

You've got a point.

I know if I ever saw this twat, I would kill him graveyard dead.