In Sync

The Dark Side of Oz? Man, that's just the tip of the iceberg.

Key Sync Moment:

All of it, brutha!

What do Good Burger and Rage Against the Machine have in common? More than you think . . .
Danny Clinch
What do Good Burger and Rage Against the Machine have in common? More than you think . . .

Good Burger and Rage Against the Machine's The Battle of Los Angeles

Most folks wouldn't ever dream that Rage Against the Machine's politically charged opus was actually inspired by Good Burger, the 1997 kids' feature starring Nickelodeon icons Kenan and Kel. But a closer comparison of the two reveals several eerie similarities and connections.

In the film, Kenan and Kel play employees of a neighborhood hamburger stand engaged in a war against faceless corporate tyranny. On the record, the songs focus on a working-class war against faceless corporate tyranny.

In Good Burger, the fast-food battle is waged in the city of Los Angeles. Rage Against the Machine's album is called The Battle of Los Angeles.

An interesting side note: Actor Abe Vigoda, who co-stars in Good Burger as a geriatric French-fry jockey, also played bass on Rage's 1996 record Evil Empire.

Key Sync Moment:

The scene where Kenan's character, Dexter, dozes off while manning the grill. As flames engulf the kitchen, we hear the strains of Rage's "Sleep Now in the Fire."

It's a Wonderful Life and the Lords of Acid's Lust

Director Frank Capra's 1946 motion picture It's a Wonderful Life has long been celebrated as the perennial holiday fave. But few know that the film was also the inspiration for the Lords of Acid's 1991 dance-floor sex classic Lust.

Though often viewed as a bittersweet fable of small-town life, it's the seething erotic tension between stars Jimmy Stewart and Donna Reed that carries the film. So real and intense are the onscreen sparks that it inclines one to believe the old Hollywood rumor that the stammering, geeky Stewart was actually quite the poon hound (and hung like a horse, according to legend).

Regardless of old movieland innuendo, syncing Lustand Lifemakes it abundantly clear there was a lot more in George Bailey's pants than just ZuZu's petals.

Key Sync Moments:

Late in the film, a "born-again" Stewart returns home to his wife and family. As the actor embraces Reed, he gazes hungrily into her eyes and plants one on her lips, at which point the Lords break into a "Kiss that body/Suck that body/Feel that body/Touch that body" refrain.

In the movie's final scene, Reed gets a tad nas-tay herself. While everyone else is in the midst of their holiday mirth, singing "Auld Lang Syne," she turns and whispers into Stewart's ear. At that very moment, the album-closing "I Sit on Acid" remix reaches its chorus, making it appear that Reed is actually mouthing the words "Sit on your face, I wanna sit on your face."

Years later director Paul Verhoeven was said to have used this scene as the inspiration for his 1992 kink-a-thon Basic Instinct.

David Lynch's eight-hour director's cut of Dune and Phish's six-CD boxed set Hampton Comes Alive

The fact that these two testaments to unchecked excess could match up like PB&J should not come as a surprise to anyone . . . who isn't completely stoned. The real shock here is that Vermont's finest managed to pull off the trick so effortlessly in a live setting, even allowing time for those listeners with single-tray CD players to switch discs without missing any of the fun . . . especially while stoned.

Or maybe it wasn't quite so effortless. According to a recent interview given by Phish guitarist Trey Anastasio, the band had a handful of television monitors set up at strategic points around the stage, so the timing would be spot-on . . . even while they were righteously stoned. And word is, the group members put themselves through a Dune boot camp of sorts. They read passages from Frank Herbert's novel to one another and refused to answer to anything other than the character names they had selected (Anastasio, for example, was Paul Atreides, played by a young Kyle MacLachlan in the film), even dressing in full costume and makeup . . . mostly while stoned.

Whatever, it worked -- that is, if you can reasonably call a six-disc set, devoted to oneconcert, that matches up (in the most minute of ways) with a ponderous version of a film that was overly long in the first place a "success." Oh, you can? Cool.

An interesting "Easter egg" on Hampton Comes Alive: MacLachlan makes an uncredited cameo at the end of disc six, adding back-up vocals to the group's cover of Chumbawamba's "Tubthumping."

Key Sync Moments:

During the scene in which Duke Leto Atreides is betrayed and murdered by the evil Baron Vladimir Harkonnen (played by Armed and Dangerous' Kenneth McMillan), Phish launches into a rousing version of the Will Smith hit "Gettin' Jiggy Wit It." As the climactic killing occurs, Anastasio sings, "No love for the haters, the haters." Exactly.

ABC's in-its-prime TGIF lineup (Perfect Strangers, Full House, Growing Pains, etc.) and G.G. Allin's Freaks, Faggots, Drunks & Junkies

The late, and not exactly lamented, hard-core punk icon was notorious in his hatred of, well, pretty much everything. Top spot on his literal shit list was reserved, however, for ABC's Friday-night block of back-to-back-to-back-to-back sitcoms, each one, he believed, a little cornier than the one before it.

Eventually, his loathing manifested itself in this disc, called by some That G.G. Is Fucked -- TGIF, get it? -- because of its long-rumored association with ABC's end-of-the-week lineup. (Freaks, Faggots, Drunks & Junkiescorresponds closely with the shows broadcast on Friday, January 15, 1988.) Coked-up and only marginally coherent (as ever), Allin didn't appear to have a concept album in him at the time. However, this last gasp of somewhat creative crudeness proves that he did. Unfortunately.

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