DID YOU READ

Tim Grierson on the LCD Soundsystem Documentary “Shut Up and Play the Hits”

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One of the best things about James Murphy, the leader of the dance-rock group LCD Soundsystem, is that he never looked the part of a rock star. A musician and DJ, he’s a burly guy in his 40s with plenty of gray hair and a kind, doughy face. If you didn’t know who he was, you’d assume he was a journalist or a writer of fan fiction — he just looked too nerdy and, frankly, normal to lead a band.

Watching (and loving) “Shut Up and Play the Hits,” the documentary about LCD Soundsystem’s final concert, I realized it was Murphy’s deceptive normalness that helped make his group’s music so special. A man with an acerbic wit and a deep love of music history, Murphy probably understood on some level that LCD Soundsystem (which started up around the turn of the century) really didn’t fit in the current landscape, no matter how beloved and critically acclaimed they were. When he decided to retire the band with some shows in New York City — culminating in a three-and-a-half-hour finale April 2, 2011 at Madison Square Garden — he was ending LCD Soundsystem’s run prematurely by choice. He wanted to go out on top, which is a laudable decision at a time when so many artists of all different stripes want to milk their notoriety for as long as they can. But as “Shut Up and Play the Hits” demonstrates, that doesn’t mean it was an easy decision — or even necessarily the right one.

The movie, which comes out on DVD on Tuesday, is structured somewhat like “The Last Waltz,” the seminal 1978 concert film that chronicled the final show of the Band. Like in that documentary, “Shut Up and Play the Hits” cuts back and forth between performances from the final concert and interviews with the artist as he muses about his own legacy. But “Shut Up and Play the Hits” in some ways cuts deeper because of the close proximity between Murphy’s offstage moments and the show itself. They include an interview with music writer Chuck Klosterman that happened a week before the final show — which, in fact, was a sort of reenactment/refinement of an interview the two men had done a year earlier but which plays out quite naturally — and footage of Murphy’s life the day after the final show. As a consequence, this is a documentary in which the highs of a concert are intertwined with the mundane uncertainty of regular life. One moment, Murphy is playing to a sold-out Madison Square Garden. The next, he’s just a normal dude walking his dog and tying up some loose ends. For a guy who only wanted to be, in his words, “New York famous” — known and respected in the music world but not someone beset by paparazzi everywhere he goes — Murphy looks like he got what he wanted out of LCD Soundsystem, returning to being Clark Kent after his stint as indie-rock’s Superman. Still, after being Superman, it must be rather odd to just be Clark Kent.

There are plenty of concert films that are little more than fan keepsakes. Peddling a polished form of “insider access,” they show snippets of the band behind the scenes, but their real purpose is to ensure one and all that the group being featured is totally awesome and that they have the best fans in the world. In other words, they’re just big advertisements that stay on message. There’s no question “Shut Up and Play the Hits” follows this formula to some extent — although Murphy didn’t direct the film, it appears that he had a certain level of creative control — but filmmakers Dylan Southern and Will Lovelace dig deeper to ponder what it means to quit something you love while at the same time exploring precisely what made LCD Soundsystem a distinctive group. Combining New Wave synthesizers, dance-floor rhythms, occasional punk-rock energy, and self-deprecating, sarcastic lyrics, Murphy’s music dared to be brainier and funnier than his hipster contemporaries. But, crucially, it was also more joyous, which comes through loud and clear in “Shut Up and Play the Hits” and its superb live versions of “Dance Yrself Clean,” “All My Friends” and “North American Scum.” (If you only saw the film in the theater during its limited run, you’ll be happy to know that the DVD includes the complete final show.)

There are several cuts to audience reactions during the film — and, in a sign of the band’s hip appeal, we even see comedian/actor Aziz Ansari crowd-surfing — but for music that was often self-consciously cool, the crowd loves LCD Soundsystem without apology or irony. At the screening I attended months ago, some people in the theater laughed at the emotionally overwhelmed fans in the movie, perhaps assuming that the film was mocking them. I didn’t read it that way. Underneath Murphy’s smarts, which are also quite apparent in the offstage segments, there’s a sensitive soul — someone we’d usually expect to see behind some turntables or working in a record store who willed himself into becoming a front man, albeit an unconventional one. (Indeed, even when we see him at Madison Square Garden, you can’t quite believe that he’s the one largely responsible for all that music.) Rock music has been filled with superstars we could relate to because they seemed like regular guys — Bruce Springsteen, John Mellencamp, Dave Grohl — and “Shut Up and Play the Hits” makes it clear that Murphy had the same sort of connection with his audience. In his modest, Bowie-worshiping, literature-loving way, he’s just like his fans, albeit immensely talented.

“Shut Up and Play the Hits” is a celebration of that legacy, but it’s also a meditation on how nothing lasts — not success, not fame, not youth. However broadly you want to define it, rock ‘n’ roll has spent its existence trying to deny (or at least delay) that eternal truth, but Murphy’s decision to pull the plug on LCD Soundsystem acknowledges that reality head-on. Murphy will one day make music in some other form. (And, as it should be noted, there have been plenty of other bands who swore they were quitting that returned for myriad reasons, some less noble than others.) But this moment in music history is now gone.

That’s why the movie’s final emotional wallop is so richly rewarding. The title “Shut Up and Play the Hits,” which is said by Arcade Fire singer Win Butler sarcastically while on stage with LCD Soundsystem, is a nod to the fact that casual fans pay to see a show so that they can enjoy the songs they know — they don’t want to be bothered with chitchat or anything else that gets in the way. But that title is doubly ironic for James Murphy’s band. For one, they weren’t a group that had a lot of big hits. (Murphy even wrote a song about this in his typically sardonic way.) For another, as strong as the movie’s musical performances are, in the end this documentary is about those moments when Murphy isn’t focusing on “the hits” but, rather, himself. The film’s heart comes from Klosterman asking him what he thinks his group’s greatest failure is. It’s in that sense that Murphy still can’t comprehend what ending his most indelible artistic endeavor will mean to him. Even when “Shut Up and Play the Hits” concludes, the question lingers in the air, but when he finally allows himself to shut up and take it all in, it’s overpowering. Rock ‘n’ roll is often about burning out or fading away. With “Shut Up and Play the Hits,” Murphy found a third option: quitting on your own terms. The uncertainty of what happens next for him is as thrilling as any song LCD Soundsystem ever gave us.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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