Sunday, October 15, 2006

No, Seriously: "Chinese Democracy" Coming Out Next Month

Anyone who ever bet that there would be a true democracy in China before Axl Rose got around to releasing his constantly delayed Guns N' Roses comeback album Chinese Democracy -- well, get ready to pay up. Maybe. Rolling Stone has reported that the album has an official release date: November 21st.

The group and its record label (Geffen) were likely encouraged by the band's successful tour. Aside from a few early hiccups, GNR has been well-received in Europe, and are already adding dates to their American itinerary. The band and its handlers have not officially confirmed the release date, and the Guns N' Roses website, at last check, was bereft of any information. Rolling Stone was apparently encouraged by a strange note from the band saying, "there are 13 Tuesdays left between now and the end of the year."

Chinese Democracy was initially set for release in 1998. It has reportedly cost an astounding $13 million to make.

Regardless of the release date, Axl and his new bandmates will be busy through the New Year, with an arena-rocking schedule that takes them from Jacksonville to Ottawa to San Diego. Former Skid Row frontman Sebastian Bach will fill the opening slot on all the dates, and a "special guest" will serve as the bridge between Bach and GNR. The latter role will be filled by that most special of bands, Papa Roach, for the first weeks in the U.S.

"It's been a long time getting here," Axl said in a statement, "but we look forward to coming to your town and having a lot of fun."

Tuesday, October 10, 2006

INTERVIEWS > Sons still rising


METROTIMES.COM: With only four studio albums in 19 years, Massive Attack has hardly been prolific. They haven't been roadhogs either — the pioneering UK trip-hop outfit hasn't done a proper U.S. tour in more than eight years. But the group's elusive nature makes sense when you consider their shadowy, often claustrophobic sound. From the early singles and 1991's Blue Lines all the way through to 1998's Mezzanine and "Teardrop," one of the decade's most enduring songs, Massive Attack was fully formed and threatening, an enormous convection oven that played love, lust and paranoia off hip hop, dub and electronic music. Never mind that, post-Massive Attack, trip-hop was often too rote and plastic, lifestyle music that mimicked the manufactured curves and smooth surfaces of portable digital music players. Massive Attack was always threatening, and we liked that.

After Mezzanine, co-founder Andrew "Mushroom" Vowles departed the group acrimoniously, and since then Massive Attack has been somewhat quiet. And then Grant "Daddy G" Marshall went sabbatical, leaving remaining anchor Robert "3D" Del Naja to issue 2003's 100th Window on his own, and, beyond some soundtrack work, that was all we heard from the group. But the group's current tour in support of the recent hits and rarities set Collected is selling out all over the place, and by all accounts their performances in Europe and at this year's Coachella Festival have been nothing short of stunning. Daddy G and 3D are working together again, and there are hives of Massive Attack info all over the Internet, each of them buzzing about the group's fifth official album, Weather Underground. We caught up with an amiable Daddy G by phone, who filled us in on the tour as well as how things are progressing with the new record.

Metro Times: How's the touring been going so far?

Daddy G: It's been really, really good. Live, it's a lot more hard-edged and a bit more experimental. Now that we've got the live band playin', we kinda reinterpret quite a lot of the songs, y'know, extend 'em, remix 'em, sometimes radically change them. And it's great because you can look out and see your audience and make a real connection with them. It's quite amazing. It really does spur you on.

MT: You must really enjoy that kind of direct interaction with fans since it seems like you guys are these intense studio-heads that never see the light of day.

G: Yeah, that's right. There is a lot of meticulous planning and work that goes into our stuff because we're not the archetypical sort of musicians who sit down together, y'know, get the guitar out and go, "Right, I've got the chords for this track — let's just strum it and see what we've got." We don't really do that. Me and D, we hole up separately and experiment with sounds until we get something we like, then get together later.

MT: Is it true you guys have always had trouble seeing eye-to-eye creatively

G: Yeah, there's definitely always been tension there, whether it was Mushroom, me and D, or just me and D. Y'know, you're passionate about a track and you don't want to compromise your ideas at the start, so sometimes it's best to see your vision through, then get to a certain point and go, "Right, I'm ready to get people on board to help me now."

MT: So where are you at with the next album?

G: Well, we have the rough ideas and a few vocal demos, so what we're gonna do when we come off the tour is pool everything together and review everything and go, "This doesn't quite work with this, and I have some ideas for this, and this is where I'd like to take this." So right now we have some rough songs but they're nowhere near finished. We're aiming to have it out around this time next year.

MT: How long have you been working on it?

G: Since the beginning of last year. We've been receiving vocal demos as we've been farming stuff out to people, and slowly but surely we're getting stuff back. Hope Sandoval's done one for us, and Alice Russell too.

MT: I've heard all kinds of rumors about who's attached to this project ...

G: Well, there's always dozens of people we'd like to work with, but you've got to be realistic with the people you choose. Who've you heard, then?

MT: Mike Patton, David Bowie, Mos Def, PJ Harvey ...

G: Right, well ... Bowie ...we reached out to David. Mike Patton ... D's been working with Mike ... who else?

MT: PJ Harvey?

G: Noooo.

MT: Mos Def?

G: No. We reached out to him because we did the "I Against I" thing, but he never got back to us, and it was a bit weird actually because we were rarin' to work with him and he never returned our calls. It was really bizarre. We love the guy. It's a shame that the hookup wasn't there.

MT: Who else might be involved?

G: We've done some tracks with Damon Albarn ... ummm, we're hoping to do something with DJ Shadow. We sent some stuff to Patti Smith. She's interested but she hasn't come through with anything yet. I sent her about four or five tracks that I thought she could take somewhere, so I'm just waiting on that.

MT: Can you give a hint as to what the new stuff sounds like?

G: Well, it's maybe a bit simpler, maybe not quite as dark and intense. It's definitely the case that we've never tried to repeat the same formula, and if people stick with you on the journey, it's great. Sometimes you lose people, sometimes you make new friends, so it's an interesting journey that you embark on when you release an album, because sometimes you can alienate people.

MT: Do you think about that kind of stuff when you're in the process of making an album?

G: Yeah, sometimes it's in the back of your mind. Sometimes you make a track and you go, "I'll tell you what: People aren't gonna like this one!" But then you think, "Hold on a minute — if they're true fans they should go with you on your journey, stick with you and see what you're trying to do." But no worries, man, the next one's gonna be good.

Thursday, October 05, 2006

A secret society opens its doors


NYTIMES.COM: For more than two centuries, the Freemasons and their grandiose rituals have played a secretive and mysterious role in American life. One of the Masons' symbols looks a lot like the all-seeing eye on the back of every $1 bill. And look whose picture is on the other side.

George Washington was not the first Mason, and not the only famous one. Mozart worked thinly disguised touches of Masonry into operas.

Fourteen U.S. presidents and everyone from the Reverend Norman Vincent Peale to the comedian Red Skelton belonged. Masons presided when the cornerstone was laid at the Statue of Liberty.

But the Masons' numbers have been steadily dwindling - whatever their secrets are, they apparently do not have one for avoiding death - and their ranks have been graying. So the New York State Masons have followed other state Masonic societies in doing something that they would have once considered heretical: They are actively reaching out for new members. And, in the process, a famously reticent fraternal organization that now puts a premium on its community service has lifted its veil of secrecy just a bit.

The Masons are not giving out the secret words that members are supposed to say to get into meetings (although these days, simply showing a dues card might do). But the Masons are giving public tours of the New York Grand Lodge Headquarters.

So people can see the gilded ceiling, the marble walls, the benches along the sides for the rank and file and, at either end, the throne-like chairs for high-ranking Masons. And, in a conference room next door, there is more gold, though it is only paint on a copy of larger-than-life statue of George Washington.

The group also hired a public relations firm to spread the word about its 225th anniversary last month.

And the Masons have run advertisements in movie theaters and run one- day classes to award the first three Masonic degrees in a single session. Until then, would-be Masons had to spend months learning what they needed to know to rise from Entered Apprentice to Fellowcraft to Master Mason.

"We're still not thinking of it as recruiting or trying to amass people," said Thomas Savini, the director of the library at the headquarters, "but I think we've reached a point where we realized that not saying anything isn't making it any easier."

They had also reached a point where they could not ignore what others were saying about them in "The Da Vinci Code" and other best sellers, like "The Book of Fate" by Brad Meltzer.

"What 'The Da Vinci Code' gave us was an opportunity to say, 'Here's what we are,'" Savini said.

What there is, inside the headquarters, are a dozen ornate rooms where some 60 lodges still hold meetings.

Those dozen rooms have no windows. Leading the way into one of them, the Grand Master, or leader of all Masons in New York State, Neal Bidnick, said the layout is no different from any other lodge room in the world, with an altar and candles in the center. At one end are two pieces of stone, each about the size of a cinderblock - one uncut, the other finished.

"We take a good man and polish the rough edges," Bidnick said (the Masons do not admit women).

In the hallways of the headquarters, the walls are crowded with framed photographs of Masons past and present, but mostly past: Hubert Humphrey, a former vice president; and William Bratton, a former New York city police commissioner who is now the chief of police in Los Angeles.

But there are fewer names on the membership rolls than there once were: 54,000 in New York, down from a high of 346,413 in 1929. Membership rose again after World War II, rising to 307,323 in 1957 before beginning a long slide.

As Bidnick explains it, the Masons in New York are heavily involved in community service, underwriting medical research and supplying 29,000 flags, one for every public school classroom in the city. But still there are the secret rooms where Masons meet.

"Why do we bring them into a room like this?" Bidnick asked. "Basically, all our rituals are designed to be educational. All these things they show you on TV, the assumptions are wrong."

He described an encounter with a reporter. "The woman from CNN read some passages about a rope and a hood and asked, 'Is that what you do?'" he recalled. "It's not."

He has heard the conspiracy theories.

"We're often asked why we have a G" as a symbol, Bidnick said. "We had a person in here from CNN before 'The Da Vinci Code.' She pointed out that only in English and German does the word for God begin with a G. But Masonry is an educational institution, so that G stands for geometry."

And, on one wall, is a stained-glass panel with a G in a square and compasses. Geometry is but one of the seven liberal arts. A Mason who could not remember the other six would need only to look up, for they are written on the ceiling: arithmetic, rhetoric, logic, grammar, music and astronomy. The four cardinal virtues - fortitude, prudence, temperance and justice - are written there, too.

And Bidnick said when Masons refer to God, they refer to the great architect of the universe. To hear him and Savini tell it, there is nothing theological in the reference. Savini said that Masonry is dogma-free. "It doesn't tell a man how to interpret a symbol, which leaves it open to people outside to misinterpret it," he said.

They would not describe in detail what happens in the room when members are present for a lodge meeting. Savini did dispel what he said were misconceptions - that there are secret tattoos, for example.

"Masonry has nothing to do with tattoos," he said. "You don't get a tattoo when you become a Mason."

Still, he has a tattoo, just not a Masonic tattoo.

Tuesday, October 03, 2006

MOVIES > Lynch and his 'ocean of knowingness'


IHT.COM: LOS ANGELES To hear him tell it, David Lynch has spent the last five years killing the thing he loves, for fear that it will kill him first.

"The sky's the limit with digital," he said in a recent conversation. "Film is like a dinosaur in a tar pit. People might be sick to hear that because they love film, just like they loved magnetic tape. And I love film. I love it!" He contorted his face into an expression that suggested pain more than love. "It's so beautiful," he said. But "I would die if I had to work like that again."

Not one for understatement or half measures, Lynch takes a giant leap into the post-celluloid future with the three- hour "Inland Empire," his first feature since "Mulholland Drive" in 2001, his 10th overall and the first to be shot on the humble medium of digital video. The movie had its premiere last month at the Venice Film Festival, where Lynch, who turned 60 in January, was awarded a Golden Lion for career achievement. It will have its first North American showings at the New York Film Festival on Sunday and Monday.

On this clear Los Angeles morning, his first at home after three weeks in Europe, Lynch was knocking back a huge cappuccino in his painting studio. The sunlit atelier is perched atop one of the three sleek concrete structures that make up his compound in the Hollywood Hills. He lives in one building; another is the office of his production company, Asymmetrical. This one served first as a location for his 1997 film "Lost Highway" and was later converted into a production facility.

The moods and objects throughout inevitably bring to mind that most resonant of eponymous adjectives: Lynchian. Propped against one wall is an Abstract Expressionist canvas by Lynch. A photograph of the Maharishi Mahesh Yogi, the Transcendental Meditation guru, sits on a conference table.

Lately Lynch has emerged as a keen proponent of Transcendental Meditation. Last year he established the David Lynch Foundation for Consciousness- Based Education and World Peace with the goal of raising $7 billion to create "universities of peace."

His other consuming passion has been the Internet. His sprawling Web site, davidlynch.com, begun in 2001, carries merchandise and subscriber- only content. As it turns out, some of Lynch's online experiments found their way into "Inland Empire," which, despite his claims for the speed of direct video, took three years to make. It was shot in fits and starts and, for the longest time, on his own dime and without a unifying vision.

Only after the project was well under way did he contact the French studio Canal Plus, which financed the transformation of "Mulholland Drive" from a rejected television pilot into a feature film. Canal Plus signed on to "Inland Empire" even though, Lynch said, "I told them two things: 'I don't know what I'm doing, and I'm shooting on D.V.'" Eventually the grand design revealed itself.

In interviews Lynch has repeatedly advanced a poetic, democratic notion of ideas as independent of the artist, waiting to be plucked from the ether: He's working on a book about the creative process titled "Catching the Big Fish." With "Mulholland Drive," he said the eureka moment came while he was meditating. With "Eraserhead," his indelible debut in 1977, inspiration came while reading the Bible. There was no equivalent lightning bolt on "Inland Empire," but in due course "something started to talk to me," he said. "It was as if it was talking to me all along but I didn't know it."

Still without a U.S. distributor, "Inland Empire" may be his most avant- garde offering since "Eraserhead." In tone and structure the film resembles the cosmic free fall of the mind-warping final act in "Mulholland Drive." "Inland Empire" refers on one level to the landlocked region east of Los Angeles but also evokes the vast, murky kingdom of the unconscious. Like "Lost Highway" and "Mulholland Drive," the new movie is hard-wired into its protagonist's disintegrating psyche, a condition that somehow prompts convulsive dislocations in time and space.

Laura Dern, who worked with Lynch on "Blue Velvet" and "Wild at Heart," plays an actress who lands a coveted role, only to learn that the movie, a remake, may be cursed: The original was aborted when both leads were murdered. Actor becomes character. The various narrative strands start to unravel.

A nightmare vision of the dream factory, "Inland Empire" belongs to the lineage of Hollywood bloody valentines that runs from "Sunset Boulevard" to "Mulholland Drive." In one scene a character, stabbed in the gut with a screwdriver, runs down Hollywood Boulevard, leaving a gory trail on the Walk of Fame. Like "Mulholland Drive," the film is at once a tribute to actors, especially those chewed up and spit out by the industry, and a study of the metaphysics of their craft.

Acting, Lynch suggests, is a kind of out-of-body experience. Like Naomi Watts in "Mulholland," Dern summons an almost frightening intensity in a performance that requires her to inhabit three (if not more) overlapping parts.

"I thought of it as playing a broken or dismantled person, with these other people leaking out of her brain," Dern said in a telephone interview. She noted that the stop-start shoot had its advantages: "It's unbelievably freeing. You're not sure where you're going or even where you've come from. You can only be in the moment."

Watching "Inland Empire," it's hard not to miss the tactile richness of Lynch's celluloid images. Instead of a state-of-the-art high-definition camera, he used the Sony PD-150, a common midrange model.

"Everybody says, 'But the quality, David, it's not so good,' and that's true," Lynch said. "But it's a different quality. It reminds me of early 35-millimeter film. You see different things. It talks to you differently." Mary Sweeney, Lynch's longtime producer (and former wife), called the new film a return to the obsessive experimentation of "Eraserhead," which he also shot piecemeal over several years. "I think it took him back to a pure and fearless way of working," she said.

Lynch also stressed the importance of fearlessness. "Fear is like a tourniquet on the big tube of creative flow," he said. And thanks to meditation, "negative things decrease," he added. "You get more ideas. You catch them at a deeper level." The dissonance between this upbeat philosophy and the abysmal terror of his films is not lost on him. "You can understand depression much more when you're not depressed," he said. "You go to this ocean of knowingness. That's what you use."

http://movies2.nytimes.com/gst/movies/filmography.html?p_id=100454