'The Doctor', the birth of cool

The Doctor
Way before Lebron and Kobe. Before 'His Airness'. And even before Magic and Bird, there was Julius 'Dr. J' Erving, the most exciting player of the second half of the 70s and early 80s. An all-time player that won titles at ABA and, finally, at the NBA, a sensation, a culture icon, a basketball ambassador, and a figure genuinely revered everywhere. But also, somewhat of an eclipsed, overshadowed player, which imo hasn't received that much attention, needless to say overseas (I was an unborn-little baby when he was one of the biggest basketball stars, so didn't have the chance to watch him live). So folks, how excited I was to watch this documentary!

Made by NBA TV, the league-owned network, 'The Doctor' is pretty straightforward and clearly wanting to capture and show the epic and magic of his playing, as well as his human dimension through some deeply affecting tragedies suffered during his life, 'The Doctor' is an engaging documentary for everyone who loves this sport. It advances smoothly, with dynamism and an overall feeling of joy and respect, fuelled by the archival footage and the enthusiastic comments of heavyweights like Magic Johnson, Pat Riley, Bill Walton or Darryl Dawkins, who portray him as a shock to the system, and alien, a revolutionary for basketball, as well as a role model. Because he was a human highlight, someone who seemed to levitate on air, a slam-dunk artist, and some sort of pioneer who made aesthetics, looks and flair translate into the court, as well as off-court (that hair and ultra-cool wardrobe). He was the coolest cat. He was the 70s. 

'The Doctor' development is simple, but the conventional, chronological order, works flawlessly well. We get to know about his college career, where he wasn't, at least initially, considered to be that great of a prospect. Then we know about his first, teenager success and how he became a legend in town after exploding in the mythical Harlem courts of Rucker Park (comments by the great Tiny Archibald and streetball wonder Pee Wee Kirkland, by the way). Julius was coveted as an exciting player but doubts on how his flashy game could adapt to the pros. But he took the Virginia Squires and the New York Nets by the storm. He simply turned into the face of the ABA.

The documentary takes its time (arguably the most exciting moment of the film) to portray that peculiar coexistence,  constant collision that was really a one-sided battle, and contrast between the two leagues, and how Erving ended being the major attraction of the dying ABA. But when the NBA finally absorbed the latter, the Nets ended selling Erving to the Philadelphia 76ers, and the final chapter of the myth began. Doubts about his adaptation to the league quickly vanished, but despite his star-status (in and out the court, being the lure of many commercial ads as well as NBA events) superhero games and otherworldly moves, he struggled to win a title, while the league entered into the unforgettable decade of the Bird-Magic rivalry... until Moses Malone arrived to the team and Julius finally found the well-deserved relief (that's the stressed word) with the 82-83 championship. It's amazing how even rivals seemed to cheer for Erving in these finals. Basketball owed the final recognition to Dr, J. His career slowly faded after that triumph, but his legacy (Michael Jordan and Lebron James acknowledging he was a major figure to imitate) is one of the most solid ever built in the game of basket.

Unfortunately though, 'The Doctor' falls pretty short in several areas, constraining itself to an extremely likeable hagiography that leaves out relevant information. We understand and, as touching highlights of the movie, value the personal side of Erving's life shown. But alongside the traumatic deaths of his young brother (when Erving breaks in front of the camera, it's hard not to get emotional) when he was a teenager playing at UMass, as well as the car accident that took away the life of his soon Cory in 2000, there's some related familiar turmoil "skimped" to us, such as the acrimonious divorce of Erving and first wife Turquoise, the two kids he had with other women when he was married to him, or the the drug problems of his ill-fated son. There's also some strange omissions in what regards to his professional career, like his first failed attempt to shift from the ABA to the NBA that resulted in an ugly feud involving the Atlanta Hawks and the Milwaukee Bucks.

Although as a documentary 'The Doctor' might be rated as a small underachievement, one has to admit I was deeply entertained (and moved at the aforementioned, sensible scenes) during its whole length. Granted, it lacks some depth and avoids controversy, but Erving fans or curious basketball lovers will for sure enjoy the story of the incomparable "human highlight reel".

SCORE: 6,25/10

'Sing Street', behind the music

Sing Street 

First, kudos to John Carney for making me enjoy a movie that pays a lovely tribute to the New Romantics movement! You have to be a masterful director for making such a haunting film with such terrible bands (imo, of course) as Duran Duran, Hall & Oates or Spandau Ballet being not just your soundtrack, but a really important part of your work.

But I shouldn't be surprised. After all, Carney is the man behind 'Once' and 'Begin Again', two films that already proved he's capable of making movies about that irrepressible, life-changing & life-driving passion named music that entertain, engage and connect with all sorts of moviegoers, not just music lovers. And that's exactly the case with 'Sing Street'.

Settled in 1980s Dublin, 'Sing Street' is the story (or tale, most appropriately) of 14-year-old Conor (surprising debut by Ferdia Walsh-Peelo) who is not having the best of the times. His parents are on the verge of divorce. There are serious money concerns. And his new, catholic school is full of bullies, including the school's director. But after meeting the arresting & mysterious Raphina (magnetic Lucy Boynton), things are about to change drastically. He has to form a band in order to win her love... And so the magic begins.

For nearly an hour, maybe even a bit more, the film is almost, pure joy. The tunes, of course. The hilarious way in which the band gets born. How they compose the first song, 'The Riddle of the Model', that also becomes a really funny, ramshackle video, a refreshing way to talk about the arrival of MTV and the bursting videoclip culture. The imitation of music trends (where's the post-punk phase?), the aesthetics, the young bunch of kids transforming themselves in a creative sponge. The ups and downs of Raphina's heart conquest. The endless music & life talks with Conor's older brother Brendan (Jack Reynor, who steals every scene he is in). Sure, you have seen this tale before (being honest, the story development is far from original), but in such a dynamic, unstoppable way? Can't remember...

But then comes the last part of 'Sing Street', in which Carney has to take decisions. Is this going to be about music or just a romantic movie? Are the dramas (which, as usual, become bigger as the film advances) going to be dealt with, or the "feel-good" vibes are what really matters? To my view, Carney takes the easiest, most pleasing options. Subplots and secondary roles that have a lot of potential (the brothers' relationship, Brendan deserves a movie of his own) get shadowed. Others (the parents, Conor's sister) completely neglected. Even the band is somewhat "displaced" because of Conor & Raphina. Dramas are basically skipped... and then there's the final gig where all seems to fall into place. I get it: music can make the troubles go away, give us the strength and courage to take risks, be brave and fight for your dreams. But for a band looking for the "happy sad" song formula, once has the feeling Carney has decided to skimp on one part of the equation, making whe whole film look like A-ha's 'Take On Me' (and most of the mainstream 80s music): at first appealing, even intriguing... but finally bland. I won't be that harsh with 'Sing Street', because nevertheless, is an incredibly engaging, cheerful movie. But what it could have been with a bit more of punch...

SCORE: 6,75/10

The Indie Anthology 56: essential songs

After last week's riot grrrl incursion we go back to jangle pop in this new chapter of our Anthology, with another very dear one, criminally underrated imo, guitar pop band of the 80s.

Song: My Favorite Wet Wednesday Afternoon
Artist: The Siddeleys
Year: 1987

For an incurable music addict, there are few pleasures that can compare with what I call "the completist hunt". For that I mean the time, sometimes never-ending, you start digging into "a scene", a genre-style, and/or a specific period of time, looking out name after name, creating connections (agreed, in many occasions its just you making the links), building up a music "family tree" and, every little while, finding that long, forgotten gem (remember I'm Spanish and born in the 80s so much harder to have heard about many of these bands) that keeps you smiling for the whole month you discovered them. In my case, as you probably guess, it's all about jangle pop. One of these lovely discoveries were the short-lived The Siddeleys, sort of a pop cult group formed in London in the spring of 1986 after singer/guitarist Johnny Johnson gave a tape of her home-recorded songs to guitarist Allan Kingdom. The combination of irresistible, tuneful and chiming guitar-pop with sweet yet powerful and somewhat incisive girl vocals and terribly dark lyrics were a shock for me, leaded by the perfect 'My Favorite Wet Wednesday Afternoon', frenzy and evocative, nostalgic but rebellious. If that chorus ("there's no earthly reason...") and the eternal lead guitar doesn't get you, there's something wrong with you, I'm afraid.

"Generation of Swine", Dr. Gonzo vs. Reagan

Generation of Swine. Tales of Shame and Degradation in the 80's. The Gonzo Papers Vol. 2- Hunter S. Thompson

Of course, I couldn't go the States and not read Dr. Gonzo. It's a MUST DO thing for me. This collection of articles, his weekly columns for the San Francisco Examiner have a bit of everything, but what makes this book recommendable is clearly Hunter's analysis of American politics, covering the last years of Reagan's presidency, and the pre-campaign for the 88's elections.

Luckily, the political chronicle occupies by far the biggest part of the book. In pure Hunter's style. His trademark's fire-powered prose, fierce sarcasm and relentless will to shake readers minds by saying, without any fear, things "by its name". That, in the 80's, meant shouting out loud how miserable and despicable were Reagan and his cohort of politicians, aka as The Generation of Swine.

These Generation was evil indeed. Along with the equally abject Margaret Thatcher in UK, under Reagan's presidency the United States of America wrote some of their more shameful pages: the Iran-Gate, Nicaragua, their friendship with Saudi Arabia or the Afghan Talibans, and the spread of the worst form of capitalism, on its wildest, merciless and stupid version, the one that destroys millions of jobs, ruins lives everyday, mortgages the future... all in the name of privatization, speculation and the "holy" market (umm, how familiar). I have no doubt about it: is thanks to the "Reaganomics" and its British counterpart that economy ate politics, and as a consequence, we have a world that today is a chaotic jungle.

Hunter reveals himself as a surprisingly accurate political analyst and a noteworthy social commentator (his attack to TV preachers and the role of the media is brilliant). Behind all the hallucinated vision (but don't expect "Fear and Loathing in Las Vegas", nothing like that here) there's a devoted journalist to his task, give his thoughts about was going on in the States, foremost with regards to politics, always with his unique way of writing, but with a very clear message: Republicans are terrible beasts, but don't expect that much of Democrats, either. Politics in America are depressing. Yet there is space for cynicism and laughing in front of the doomed situation (from Oliver North's trial to Bush I run to presidency to how the democrat candidates keep self-destroying themselves) but even Hunter can't hide a feeling of defeat and disappointed resignation. The defeat of the American Dream, replaced by the greed of a few.

Unfortunately, there are two important "issues" that make the book rating lower that what it should for me. Well, the first is really my fault, because "Generation of Swine" demand you to know quite a bit of American politics, many secondary political actors appear or discussed about so the non-expert reader could feel a bit lost sometimes. The second one has to do with the "other" articles, that in my opinion aren't that interesting, working simply as random thoughts and very personal adventures, but lacking the punch our favourite Doctor used to have.

In any case, another remarkable work of the Doctor. How much do we need (in America, in Spain, in every part of the world) more Gonzo journalism, brave enough to reveal how ugly is the truth! We miss you badly.

SCORE: 6,75/10

"New Wave & Post-Punk", well-known pleasures

New Wave & Post-Punk (1978-1984). From Depeche Mode to Franz Ferdinand (de Depeche Mode a Franz Ferdinand, Spanish original title)- Juan M. Corral (editor)

Here comes a very interesting and needed book. Well, music books are desperately needed in general in Spain, as the production is so small. So "New Wave & Post-Punk" has to be praised even if just as an attempt of covering such a music period. So thanks Juan Manuel Corral and the rest of music specialists (six different writers trying to dissect those times in several individual chapters) for the work.

Having said that, the book has many attractions, from just being informed about those years, who were the leading bands and artists of the different "movements" or "scenes" (whether the real existence or non-existence of the scenes are one of these perennial debates), their connections and relations, and maybe discover some of them, to bringing to the table, or at least explore, the origins and direct influences of many bands that are referential today. As the book clearly exposes, and I don't think its arguable, 80s are "on fashion" today.

To present such a vast and complex (it evolved very quickly) music panorama is not an easy task, so for sure, the scope of the book has limitations and the list of groups/artists included is, by no means (that's almost impossible) exhaustive, but the overall feeling after reading it is that the most relevant scenes have been covered and documented. Therefore, prepare yourself to embark on a quite challenging ride: from "England's Dreaming" to Joy Division fatalism, from American Hardcore to Gary Numan, from German industrial sounds to The Specials, from Morrisey & Marr to Diamanda Galas. 

As I said before, the book tries to analyse the most relevant bands and milestones of the different music scenes (plus a chapter on music labels, not that usual and highly absorbing, another positive point). I like the fact the writers doesn't hide their criticisms and opinions on albums and attitudes and that the focus is not reproducing what the chroniclers from USA and United Kingdom have vastly documented: the perspective is a more local one, about what and how we received these bands and styles here in Spain, and how we can value them. In that sense, the final chapters of "New Wave & Post-Punk" are particularly relevant despite its length constraints. One is dedicated to the "legacy", where music specialist Daniel Cabezas tries to summarize the influences of some of the most celebrated artists of the new millennium. A titanic, incomplete, but great chapter. The second is a brief (too short) but valuable view of how new wave and post-punk arrived and influenced national music, in a pivotal moment of change in Spain, after the dictatorship regime.

But there's a big, and a bit surprising, "issue" with this book: the unacceptable number of misspellings and typos. There's virtually no page without it. Just the back cover has half a dozen of them. Don't know which has been the problem (edition, lack of correction) but it makes the work look bad, not very professional. Sad, because despite its limitations, this book should be quite recommendable.

SCORE: 6,5/10

Discoverer 8: new indie findings

As I won't be able to post this Sunday and I have many interesting bands to introduce you, here's the advanced next round of indie proposals!

The Head and the Heart. Coming together in the summer of 2009, the 6 members of this Seattle band self-released their album in 2010, but luckily their music gained fans and enough attention to make them sign with Sub Pop Records past November, re-releasing the album this year. Folk with tones of soul, melancholic pop, glimpses of americana, full of harmonies (watch the hyperlinked video please), and with a distinct, beautifully crafted and warmly honest, sound. 

Youngteam. Shoegazer lovers, this one is for you. This musical collective from Stockholm, Sweden, started their career in 2006, became a real band in 2008 and early this year presented "Daydreamer" a stunning collection of epic and slightly psychodelic pop tunes, recalling big names such as My Bloody Valentine, Slowdive, Velocity Girl, and especially, Ride. Great references for a very strong album. One to get lost into, like on the amazing "Your Love", featuring Anna Järvinen on vocals, or the title track, "Daydreamer".
Youngteam - Your Love


Xylos. Indiepop with litlle hints of electronic from this young Brooklyn band who debuted this April with its self-titled album. Catchy and a bit reminiscent of the 80s synth-pop, Monika Heidemann's voice (Tracey Thorn anyone?) is the trump card of this very remarkable group, making you feel the aching inside despite all the sweetness in the tune's melodies.