Shut Up and Play the Hits bridges that gap for us, though. The documentary, directed by Dylan Southern and Will Lovelace, was screened in select theatres for only one night — a seemingly arrogant tactic, though I think it was done mostly just because it was the easiest and most affordable (the opposite of arrogant). Lucky for Cincinnati, the Contemporary Arts Center showed it in the lobby of its stone, skate park-like building to a full audience.
Using shots of the band’s last show to a sold-out crowd at Madison Square Garden on April 2, 2011, mastermind James Murphy’s life before and after the show, and an actually informative interview, Shut Up and Play the Hits does some explaining, which was what Murphy really wanted. Not only that, but it also takes us through the inevitable emotional roller coaster Murphy and his bandmates rode on, anywhere from feeling “disturbingly normal” to breaking down in the presence of the band’s now jaded yet memorable musical equipment.
This normal life seems to revolve around Murphy’s dog. Waking up at 10:32 the morning after the final, drunken show, Murphy lays pensively sleepy with his little dog on his belly, just staring at him. Maybe it’s the dog that keeps him from accepting the sadness of the end, or maybe he just hasn’t been able to look — really look — at his dog in quite some time. Either way, it’s an endearing moment that contrasts like a flash of lightening to the madness of their final show. The back and forth filming techniques foster those aesthetics.
In many moments throughout the film, Murphy’s gaze suggests a complexity of despondency and hopefulness all at once, whether he’s making coffee or glowing in front of an 18,000-person show. The end is near and never has such an ending become so suddenly swallowed up. The film symbolically leaves us with a weeping fan staring at the dispersing stage, gracefully blurring the line of the sacred and profane. Murphy only wished to leave a stain, but that final note of that final song could very well ring out forever.
EMI Records has filed a lawsuit against the Irish state for not fulfilling its obligations under European law to block online piracy. Despite major record labels in Ireland (Warner, Universal, Sony and EMI) being harmed by Ireland’s lack of “blocking, diverting or interrupting of Internet communications,” which breaches copyright law, Ireland never implemented any piracy blocking provisions and last year member of the High Court Justice Peter Charleton acknowledged this.
“It is not surprising that the legislative response laid down in our country in the Copyright and Related Rights Act 2000, at a time when this problem was not perceived to be as threatening to the creative and retail economy as it has become in 2010, has made no proper provision for the blocking, diverting or interrupting of internet communications intent on breaching copyright,” Justice Charleton’s judgment began.
“Establishing a causal link between Irish law and filesharing will be difficult, particularly given the evidence from elsewhere that blocking is ineffective,” said TJ McIntyre, lawyer at the University College Dublin. And while site-blocking is a last resort for the record labels, the link between the breach of the State’s obligations and the labels’ losses could prove to be problematic.
Apparently Lady Gaga did damn well as host and musical guest on this
week’s Saturday Night Live, because I
keep seeing stories
like this praising her. I don’t know for sure, though, because I fell
asleep on the couch at 10:30 p.m. and woke up just before 1 a.m., just in time to see something that has recurred in my nightmares ever since: