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This song is a centerpiece of arguably the most successful album from the 1980s-90s “New Age” marketing category. Enya started out creating mood music for BBC documentaries, and the cinematic quality of her work is on full display here.
The core of the song features pizzicato violins and synth washes and arpeggiated runs. Percussion is provided by a spare bassline and strategically placed timpani dramatically leaning on the one of the measure, a pattern well known in Funk music, BTW.
Lopping two chord patterns and impressionistic nautical lyrics make the music hypnotic in its way. You don’t need to be anywhere near water to get to dreaming of adventures on the high seas.
Welcome to The Fourth Wall, CHIRP's e-conversation on cinema. This week's subject is the 2010 film Blue Valentine.
This edition is written by CHIRP Radio volunteers Kevin Fullam and Cassondra Branderhorst.
Kevin:
Early on in Blue Valentine, the image that came to mind was that of an oscilloscope. What happens when you have a pair of harmonic waves that are just slightly misaligned? Over time, small differences can magnify into huge disconnects, where the two may find themselves moving in opposite directions.
In the Hollywood of yesteryear, the story of Cindy (Michelle Williams in an Oscar-nominated performance) and Dean (Ryan Gosling) would have all the trappings of a romantic comedy. There's the meet-cute (while visiting residents of a senior home), the disparate backgrounds (she's a college student, he's a high-school dropout who works for a moving company), the winsome impromptu first date (where his ukulele serenade wins her over), and even a jealous ex (played in rather creepy fashion by Mike Vogel) to boot.
In Blue Valentine, however, these elements are relayed via a series of flashbacks and comprise only half of the tale. The present day has us checking up on their marriage, five years in... and clearly, the honeymoon has long worn off. Cindy can't fathom why Dean seems content with menial work; he can't understand why the charming disposition she fell in love with no longer seems good enough for her today.
Matters reach a breaking point when Dean -- over Cindy's objections -- plans an evening for the two of them at a hotel with "theme" suites, which in their case is ominously titled "The Future." (Picture the bridge of the Starship Enterprise.) Relations are frosty before they've even arrived. Cindy is exhausted and also on call for her job as a nurse, and there's additional tension in the air after she mentions that she bumped into the aforementioned ex at a liquor store on the way there. The ex's opening salvo: Have you been faithful to your husband? Ouch.