Film Review - Before the Music Dies

Before the Music Dies
A film by Andrew Shapter and Joel Rasmussen

Disclaimer, for what it’s worth:
I got this movie as a bonus gift for pledging my support to my local independent radio station (they don’t take corporate money so they hold 3 pledge drives a year).

Here is a selected scene from the film which made me pull my sweatshirt up over my face and make a noise not unlike that you might hear when someone misses an easy word in a spelling bee.

*Scene: outside the Ashlee Simpson concert*

Interviewer: What would y’all tell Ashlee if she sees this?
Three girls who have just attended the concert: That she rocks! That she’s cool . . . and I love her hair style.
. . . .
Interviewer: What other music do you like, do y’all know who Bob Dylan is?
Different girls outside of the show: Um, no.
Interviewer: He used to inspire people . . . did she inspire you to do anything?
Girl: (laughing) No.

*End scene*

Before the Music Dies was made by two people with a connection to music, but no professional relationship with the music industry. Their goal was to explore the history of American music and explore the somewhat disturbing state of today’s music Industry (I capitalize industry to highlight a point eloquently made by Questlove (of the Roots), in which he distinguishes Art from commerce). The film consists primarily of interviews with various musicians and people connected to the Industry interspersed with live performances, most notably by Doyle Bramhall II, Dave Matthews Band, North Mississippi Allstars, Erykah Badu, Calexico, Bonny Rait, and Branford Marsalis. Oh, and there are some cool clips of talented street musicians as well.

The main themes of the film come from the perspective of those caring most deeply about music and reflect an attitude of passion for the creative and for new ideas and sounds. They suggest that this may be at odds with the current Industry’s focus on immediate payoff and instant popularity. One former major record label exec describes this as a schism: (Selling) Record Business vs. (Making) Music Business.

Several reasons are proposed for this change, particularly changes in the law that have allowed huge corporations to own many radio stations and determine their own set programming. The film includes an interview with an anonymous Clear Channel executive, who is presented with his voice dubbed, sounding like a menacing robot and his face obscured by a cloth-screen cover, which, admittedly, made me think of a slightly less scary Scarecrow from Batman Begins—coincidence?

B4MD also touches on the advantages and disadvantages of technology. It sadly notes that new equipment allows mediocre singers to instantly sound like marketable pop stars. The film follows one young model on her quest to become a star—showing her singing (somewhat painfully) into the studio mic and then later her video with a produced electronic effect masking her lack of singing talent and lots of shots of her looking pouty and staring straight into the camera. Honestly, I’m not sure why she would agree to be in this video because I think it exposes her for her lack of musical talent, but then again, exposure is probably what she is going for. The film also notes conversely that the internet and technology can be a good thing when used by smaller bands to get exposure through podcasts and free downloads, generating further interest.  I know this is the case for myself- I use the radio and internet to find new artists but if I like them enough I still go buy the album and/or see them in concert.

This film is definitely worth watching for those interested in what’s going on with the state of music today, and fun for a discussion about several pressing questions raised in the film, including what is perhaps the biggest: Where do those go who don’t fit the model?

Another great thing about B4MD is that it proposes a certain, unspoken “criteria” for “good” music that can apply to all types of music, including historical performers. Having recently watched Shine a Light with my boyfriend’s parents, I was reminded of a comment his mother made, noting, “Wow, I just don’t know that the Stones would make it by today’s standards.” That’s a pretty amazing statement to make about a group with enormous success and following, yet I think I agree with the film that today’s current Industry could have difficultly with a band like The Rolling Stones. (This being my opinion, as the film doesn’t actually mention the Stones. It just generally notes that many former stars wouldn’t stand a chance by today’s standard).

As a music lover whose favorite bands (arguably) sound best live, I personally really appreciated the way this film takes an attitude of support for those in their quest to make their music the way they want to, and not adhere to Industry standards. While it’s pretty obvious that the film makers favor those musicians admired for their performing skill, they don’t come off as too preachy, instead letting the words of musicians (profound and otherwise) speak for them. At times some of the more extreme folks (Erykah Badu for one) seem pretty harsh of Commercialism, but I think it gives more validity to the film to have a range of opinions and makes the viewer question whether they agree. I wouldn’t describe the film as electrifying or particularly dramatic to watch, but I definitely enjoyed some of the musical performance pieces and felt it was a well-made documentary.

http://www.beforethemusicdies.com/

0 comments thus far ...

melophobe sponsors

Connect To melophobe

1. melophobe
2. concert reviews
3. fifty-word reviews
4. articles
5. links
6.