Tag Archives: music

Building the Perfect AV Set-Up On a Tight Budget Part 1: Audio

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Here on WWM, we watch a lot of movies and I at least listen to tons of different kinds of audio recordings and play different types of old software looking for insight into the recent past and how we ended up here.

When you spend that much time with media, a good playback set-up is crucial and can make for a huge quality-of-life increase if you’re like me and studying outdated media is pretty much your life. Thankfully, the massive overproduction and cycling out of consumer goods that has occurred in the last 50 years has left a lot of ways to get around paying enormous sums of money to get extremely high quality AV playback.

Since I’ve moved to a city where enormous quantities of used electronics are regularly remaindered and dropped off at thrift shops, I’ve embarked on a quest to set up my absolute perfect AV set-up for as little money as possible. Extremely cheap prices/people leaving stuff on the street has allowed me to finish it.

While I’m by no means suggesting everyone or really most people should own this much media equipment, I at least hope some of the tips and suggestions here are helpful. I’ve divided the article into separate sections for each piece of equipment that made the cut and why it made the cut/tips for hunting down your own in the wild/how I acquired each piece/any hardware or software mods I recommend.

Since its a big list, I’m breaking it into two articles, one for audio playback and one for video playback.

So lets get to it!

AUDIO

AMPLIFIER/RECEIVER: Yamaha VX-463

I bought this Yamaha receiver for $20 with a remote at a thrift store. While hardly the flashiest component I own, it gets the job done, can put out true 5.1 discrete audio (extremely useful for DVDs), decode Dolby Pro Logic II surround (which is 100x better than Pro Logic I) and I can turn off the internal Digital->Analog Converter chip. The only downside (if you can call it that) is the lack of a built-in phono preamp. However, this opens a lot of options for other phono pre-amps which frequently sound better.  It takes HDMI, RCA, optical and coax, so I’m pretty happy. If you see one of these models from around this period, grab it. You can get them even cheaper if you only need one that can do stereo (and unless you plan on investing in a 5.1 set-up of speakers that’s all you’ll ever need.) I’ve never had a problem with a Yamaha receiver, but most receivers made by a large manufacturer with quality checks will probably work fine, especially if you only need stereo.

MAIN STEREO SPEAKER PAIR: Ohm Model E Pair

I found these unused in the box they came in from when whoever bought them and proceeded to never use them. They were free on the street on trash day. They were manufactured in 1978. They’re essentially knock-offs of the famous Henry Kloss AR-2 speaker design, and sound almost as good as a fully refurbished pair of AR-2s, which leads me to my next buying tip: Many fairly excellent knock offs of the all-time great vintage speakers have been made and can be had for far far less money than the originals. While your chances of also finding unused 1978 bookshelf speakers on the street is low, you can still pick up great speakers resembling the AR-2 through 4 models for very cheap at flea markets. Look for the Ohm brand or the Optimus brand (which is the branding Radioshack used to sell speakers for a long time.) Either of these will be fairly cheap and sound excellent. If you’re willing to hunt around a bit, you should be able to get pairs for the $10-40 range. Obviously if you see original AR or KLH speakers in that price range, they’re 100% worth grabbing too.

CD PLAYERS:

Playstation SPCH-1001 (modded)
Oppo 970HD
Pioneer LD-909

CDs are great and definitely the cheapest form, for now anyway, to get verifiable legit physical copies of albums. If you’re anything like me and/or lived through the 80s or 90s, you probably have dozens laying around. Many come with bonus tracks and other nifty things. You can make perfect 1:1 copies. People have been quick to discount the CD as a format, but I still use it every day. If you want the quickest path to an impressive audiophile set-up that incorporates physical media while spending the least money possible, CD is the way to go.

Since CD players also tend to be incorporated in other common electronics, I’ve only included the three devices I actually play back CDs on in this entry. While many other devices I own can technically read CDs and/or SACDs (PS2, PS3, Dreamcast, Sony BDP-390 Blu-Ray), I pretty much never use them for playing music, since it puts unnecessary strain on the lasers and they don’t sound nearly as good as the three I chose. In an interesting coincidence, sound quality vs. ability to play anything whether its scratched or not had an inverse correlation. I’m going to go over them now in terms of sound quality from best to worst.

PS1-SCPH-1001 (modded)

The first release version of the original Sony Playstation has, by luck, chance or covert design, one of the best DAC chips ever made. A DAC (Digital-to-Analog-Converter) is one of the more expensive chips on the motherboard of a CD player and is the final step of processing between the 1s and 0s on the CD and the actual sound you hear from your speakers.

Think of a recording as a loaf of bread. A digital recording is that loaf cut into a bunch of very tiny slices, but for whatever reason your speakers can only eat full uncut loaves of bread. In an analog recording (like vinyl or cassette) the bread is unsliced but can get kinda moldy/nasty if it’s left out in a way digital doesn’t. However, with digital you still have the issue  of reconstituting the bread. A better DAC reconstitutes the bread/audio more smoothly and evenly without a bunch of stitching and whatnot present. In my experience the quality of a DAC doesn’t tend to directly correlate with price range, and sometimes cheaper more common components will sound better than fancier or pricier ones. Which brings us to the Sony Playstation SPCH-1001, which can be gotten easily for less than $10 (mine was $8) but has one of the best sounding DACs ever made.

And it can play Metal Gear Solid!

But to get the best sound out of it, you need to take apart the Playstation and do some very simple modifications first. I have done all the ones in this guide, but I have done and can heartily recommend removing the capacitors and muting chips near the DAC and replacing them with jumper wires. The improvement in sound quality is immediately apparent-its the most even and balanced sound I’ve ever gotten from a CD player. It’s nuts. You can also add wireless remote functionality for $5-10. In terms of bang for your buck you can’t really beat it. However, be prepared to replace the laser assembly at some point (very easy to do and parts are on Ebay for $10-15.)

OPPO 970HD

This is technically a DVD player but it also is an exceptionally nice CD player and it has the added value of playing pretty much every weird proprietary audio format you can throw at it (SACD, HDCD, DVD-A.) If you enter the code 90210 in the maintenance screen it will play all region DVDs too. The laser is strong and does a pretty good job reading scratched discs. I got mine for $10, but I put that in the “damn I got lucky” category more than the “I expect you can walk out the door and find one for that.” Generally these run $100-120 used. I’d say its worth it if you like collecting foreign language DVDs or run across one for cheap.

PIONEER DVL-909

The 2nd to last model laserdisc player ever sold in the US (the last was the nearly identical DVL-919). This also plays DVDs. The CD playback sounds exceptional if not quite as good as the PS1 or Oppo. It has the added benefit of having maybe the most sturdy optical drive I’ve ever encountered. You can throw pretty much any scratched CD at this and it will play through fine.

I got mine for $25 but used these aren’t usually that affordable, sticking in the $350-400 range. They’re also enormous. I have a collection of laserdiscs, so it’s worth it for me, but I wouldn’t broadly recommend this as a casual solution to…anything really.

TURNTABLE: Technics SL-3200

Mid-range used Technics direct drive turntables are excellent and built like tanks. And you never need to replace belts. And the sound is awesome. I inherited mine, but they can be had generally for $100-120, cheaper if you look around since they’re fairly common. Anything Technics that says direct drive on it will be worth your time.

CASSETTE DECK: Nakamichi BX-300

The most renowned tapedeck of all time is the Nakamichi Dragon. Used, these go for $1000-1200. However, the BX-300 has all the same features as the more famous deck except for some azimuth adjustments, and can be gotten for a fraction of that price. It also is direct drive, so no belt replacement. I got mine for $10 and then spent $50 to have it repaired, but you can get a serviced used one on ebay for $200-300. Are there far cheaper tapedecks? Yes. Do you really need a tapedeck in 2019? Eh…probably not. But if you want one, this is the one to get. The sound is excellent, the playback speed is digitally controlled and basically perfect, and you get three heads instead of the usual two.

 

CONCLUSION:

So far, we’ve covered options for speakers and playing back CDs, vinyl, cassettes, SACD, HDCD, and pretty much anything that’s not a reel-to-reel or 8 track, at very high quality. I’ve spent a total of $123, not counting wires or my Playstation controller.

Can I beat that on video portion? Tune in then to find out!

Do you have any audio finds you’d recommend? Leave em in the comments!

The Signifiers of Monsoon in Hindi Cinema: Parallels from Brecht and Cultural Studies

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The cultural industry of Hindi cinema has banked upon its geographical richness since its inception. While the inclusion of every season and the festivals therein is quite balanced, it is unequivocally the representation of monsoon that sets up aesthetic metaphorical constructions on the silver screen. Whether it is Kuleshov Effect or the use of montage, the idea of representing monsoon as an alienated concept from the central narrative or ‘life’ of the characters is a notable Brechtian characteristic in Hindi films. Such conception of monsoon is presented as an idea in itself that provides a perspective on the lives of the characters involved rather than becoming a naturalised happening of their milieu.

It is because of aforementioned reasons that I went on to call monsoon a ‘signifier’ in itself. When songs such as Pyaar Hua Ikraar Hua (Love Happened) from the movie Shri 420 and Bheegi Bheegi Raaton Main (In the Rainy Nights..) showcase romance between the two protagonists, it is not the romance that is realistically evolved and subsequently expressed in common parlance. It is a romance that is showcased as romance itself. Romance which has its ideological presence separate from the presence of the lovers involved. Therefore, in both the songs mentioned above, the idea of romance does not become synonymous with Raj Kapoor and Nargis or Rajesh Khanna and Zeenat Aman. Rather, it is the creation of the idea of romance itself through which the cinematic positioning of these characters are understood. So, this distinction between romance as an idea and the characters as mere forms of it, makes monsoon a cinematic as well as cultural signifier to represent the signified (romance).

Image result for bheegi bheegi raaton mein - Rajesh Khanna and Zeenat Aman

After understanding the alienation effect that Hindi cinema creates and has created over generations between the monsoon as a language and the characters as content, we shall now look into the various meanings that monsoon generates within the representational system of Hindi cinema.

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  1. Romantic Anticipation – The two songs mentioned above are a perfect examples of monsoon being used to describe the romantic anticipation and blossoming curiosity between the two lovers. Another addition to this can be a song that came almost three decades later – Sawan Barse Tarse Dil (Monsoon hovers as my heart craves). In Sawan Barse  there’s a shift away from the context of isolation as shown in the previous two songs. Unlike Pyaar Hua and Bheegi Bheegi Raaton Main, where lovers are shown in an isolated atmosphere under a moonlight sky, Sawan Barse uses Kuleshov Effect by using the busy streets of Bombay to show the carefree mindset of the two lovers involved. However, there is hard to trace the Screen A – Screen B direct metaphorical juxtaposition in the third song, it becomes evident in the closer analysis of the music video. Thus, I believe that completely crediting Kuleshov for this would not be a perfect idea but the commonalities are also hard to ignore. A notable example of a piece where both the isolation effect of the previous two songs and the carefree effect of the third song intersect can be Aaj Rapat Jaaye (If today I tumble down) starring Amitabh Bachchan and Smita Patil.

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2. The Longing – In the era of 90s and early 2000s, monsoon acquired a much more sexual connotation in terms of using representations of cravings and fantasies. In Tip Tip Barsa Paani (As the rain drops) and Lagi Aaj Sawan Ki (Today, the rain is falling like old days) there is intense use of emotions and clever use of editing by utilizing more space while building upon developing sexual desires. Such was the heat of these songs, that Raveena Tandon’s orange saree from Tip Tip became a major symbol of sensuality and sexual liberation in pop culture. Another notable example of this category can be Saanson Ko Saanson Se from the movie Hum Tum (You and I) where the red saree of Rani Mukherjee and the beautiful set up of two lovers rolling on the beach sand under a moonlight is a visual delight in itself.

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3. The Liberation – Out of all, this is the most celebrated representation of monsoon in the Hindi cinema. And, I would say, the most relatable. Although, the relatability of this representation comes as a rite of passage to carefree state of mind, and probably goes against the Brethian principles, it still saves the grace by not creating the empathetic relationship between the audience and the character. In Barso Re (Let it rain) and Bhaage Re Man Kahi ( My heart take the strides) it is the breaking of the monotony, the creation of the antithetical to gender roles, that comes across as the most fascinating use of monsoon as a signifier. While in Barso Re, we see Aishwarya Rai celebrating her freedom of choice to choose her own lover and the further course of life, in Bhage Re Man we see Kareena Kapoor, who plays a bar dancer, taking a time off her constructed reality to subsume herself in the bliss of falling droplets. In both of these songs, it is the momentary split between the character and the context, between the constructed reality and the unguided display of liberation that creates a beautiful trajectory for the audience to analyse monsoon as a concept alienated from the narrative of the film.

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Although Hindi cinema is decorated with blissful songs on monsoon, I had to quite painfully restrict myself to a handful. However, I feel that the songs that have been discussed above are quite deserving symbols of the spectrum. Hindi cinema has been celebrating the idea in their isolated forms in order to create a separate space to the entities that exist around us. This separation and the  further use of these ideas as an existent matter of thought in themselves have empowered the audience to think of these ideas objectively and without the distractions of the cinematic construction of the plot or the personal lives of the characters. Such thought provoking use of signifiers such as monsoon gives Hindi cinema a democratic nature that allows every viewer to think of these signifiers independently and imbue their own understanding or relation with them. For me and I hope for the supporters of Bretch and Kant, this is surely fascinating.

Image result for aishwarya rai in Guru

The Avant-Garde, Zeenat Aman

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The cinema of the 70s is often termed as an era that marveled the art of pop culture reorientation. A decade that immersed itself in the chaos of coming of age screenplay and ever inspired music ensemble, the flights of imagination was anything but predictable. It was during this period that Hindi cinema saw the rise of its one of the most ground-breaking actress, a gifted performer and a formidable fashion icon – Zeenat Aman. The characters that she adorned were unafraid of juxtapositions and oozed liberation that was rarely seen in the public eye. From being an adultress in Dhund (Obsession) to a cheerful prostitute in Manoranjan (Entertainment), Zeenat Aman redefined narratives of gender roles in not only Hindi cinema but also in the entire urban Indian society. A former Miss Asia Pacific (1970), she was the first South Asian woman to win this coveted title. Even though her acting skills were second to none, Zeenat Aman had sealed her name in the history of Indian cinema for her unparalleled contribution in revolutionizing the use of fashion in Hindi movies.

The looks adorned by the lady swing across the spectrum of avant-garde fashion. She had never ceased to reinvent herself and often pushed the boundaries of artistic expression by her V-neck hem slit evening gowns or her infamous Boho looks. This post is a tribute to some of the most foresighted, coming of age and classical fashion statements of the woman that charmed the 70s and cemented her position in the pop culture.

  1. The Boho Chick

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Dubbed as her first block-burster hit, Hare Rama Hare Krishna (1971) paved the way for Zeenat’s towering success. What began as a role received by fluke, later unraveled into a timeless performance that got her the Filmfare Award for Best Supporting Actress, and most importantly, her perennial place in the pop culture.

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Playing the role of a girl separated from her family who subsequently slips into drug addiction, the character of Janice was unconventional for her period but beheld potential for a memorable performance. And for the visionary as she was, she delivered, and delivered with utmost excellence.

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2. The Girl with a Guitar 

When Zeenat Aman held a guitar to belt out a soothing lullaby for her lover in Yaadon Ki Baraat (The caravan of memories), she gave us a melody of a generation. The climatic progression of the music with the innocent smile decorating her face, Chura Liya Hai (Now that you’ve stolen my heart) is the musical beauty of the highest order. Apart form its melodious supremacy, it was this long white gown that etched Zeenat Aman in every man’s heart for years to come. Complementing that look with a choker necklace, she added one more feather to her overtly decorated hat of fashion laurels.

3. The Femme Fatale 

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Although, every song of Zeenat Aman has been a masterpiece in its own right, there is one song that not only concreted her as a superstar but also reflected her ideas of empowerment through sexual liberation. In Laila Main Laila (Laila, I’m Laila), a song that has been subsequently covered by a dozen singers and actresses, Zeenat Aman unleashes her femme fatale and explodes into the space where she adheres to no boundaries, rising above the artificial constructions of gender roles.

Image result for zeenat aman in Laila

In Aap Jaisa Koi (Someone Like You) and Don, she takes her seduction to next level and amalgamates it with her impeccable acting skills to deliver the critically acclaimed performances as a cabaret dancer and a villain respectively.

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Zeenat Aman had metamorphosed into a multi faceted performer who freed herself from the fear of being judged for her decisions. She pushed the limits of visual representation in Hindi cinema and became an icon for all the actresses that followed. Apart from her mounting commercial successes, she was critically well received for her depiction of a rape victim in Insaaf Ka Taraazu (The Scales of Justice). She was translated as a visionary, an artistic maverick, and a farsighted actress for her coming of age role of a cheerful hooker in Manoranjan (Entertainment). With more than half a ton movies on her name, Zeenat Aman was and will always be the first and the most beloved diva  of Hindi cinema.

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From Renee Smith to Sita Devi: Retrieving the Forgotten Enchantress of Silent Era

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Indian cinema had birthed a fair share of visionaries even before the beginning of what later came to be termed as the Golden era. Under the reigns of the British Raj, certain Indian artists thrived upon the offerings that colonial engagements with art had to offer and used the political situation of the period to engage cinema in a dialogue of cultures. The dialogical development of cinema, with silent movies relying heavily on scenic photography and camera angles, what unraveled on the big screen involved not only the oppressed lot making a statement but also the privileged lot participating in the process. The emancipating nature of art drew many budding filmmakers to garner the global recognition of not only Indian art but also Indian culture in general by using films as language. In this democratising activity of filmmaking, one of the most celebrated manufacturers was Himanshu Rai who dared to look beyond the logistical restrictions of his space to harness a global outlook. However, this post is not about him but about an unsung actor, who despite not being biologically involved in the cultural milieu of the subject matter of her work, adorned many characters in a number of such experimental films. Though, she was born as Renee Smith in an Anglo-Indian family, the cinematic history would remember her as Sita Devi.

The silent movie era of Indian cinema had a brief but eventful affair with German collaboration. Though much has not been written about her, Sita Devi’s momentary presence in Indian films can be seen in these very collaborative projects. When Himanshu Rai joined hands with a Bavarian film company Emelka, a film named Prem Sanyas (The Light of Asia) was released in 1925 which was generously budgeted and was directed and produced by Himanshu Rai himself who also appeared as one of the actors. This very film had the young Renee Smith (Sita Devi) playing the character of Princess Gopa, who is decorated quite intricately with the cultural symbols of Buddhist ritualism. This was her debut film, and thanks to her blossoming presence on screen, she became an overnight star. She later went on to work under the banner of Madan productions but could never repeat the success she garnered in her very first film.

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Renee went on to do two other films with this Indo-German collaborative project, which seemed more like a trinity now, that were also classified as period dramas showcasing the grandeur of Indian culture. Interestingly, these three films spanned three different religions (Buddhism, Islam and Christianity) rightly spanning the diverse cultural fabric of the country.

The artistic outlook of Renee Smith and her respect for the art of cinema can be traced from the diversity of roles she played in this trinity and also the distinct nature of each of those characters. Despite sprouting as a star in her very first film, she did not hesitate to play the ‘other woman’ in Shiraz (1928) and a villain in Prapancha Pash (Throw of Dice, 1929). Despite the social perception of that period for such roles and the impact it had on the careers of the actors who played them, Renee chose to explore the shades of her artistic capabilities rather than fearing social stigmatization.

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The short filmography of this illustrious actor involves many socially unconventional roles in movies such as Bharat Ramani (Enchantress of India, 1929), Bhrantri (Mistake, 1928) and Kal Parinaya (Fatal Marriage, 1930). Despite not being culturally relatable to the majority of the population, the success of Renee Smith established itself upon her ability to immerse herself in the complexities of her character, reaching the finest degrees of method acting. She came across as an exotic representation to many of her contemporary directors, but that only worked towards constructing a strong narrative around the creative credentials of this effervescent actress.

With her films being showcased in German and English to the elite cinematic audience of Europe, including the royal family, a couple of Renee’s films were also immortalized for global audiences with German translations (Das Grabmal einer großen Liebe and Die Leuchte Asiens). It is hard not to mention the famous rumour of the period which said that Renee’s sister Patty was often used as her double in some of the sequences. Renee Smith has been unfortunately forgotten by the repositories of Indian cinema. In her short yet colossal montage of work, Renee aka Sita Devi has displayed the full dimension of her artistic prowess and the lengths of her creativity. I hope the reading of this post will only generate more discussion on this wonderful actor, getting her the rightful place in pop culture, something she so unequivocally deserves.

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Picture Credits: British Film Institute

Found in Escapes

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What if I seek light in
This night.
Flicker lights falling upon my
Cheek, glistening a part of it, a part
Still left hidden.
What if I seek journey here
Sitting at a deserted bus stand, who
Uses them anyway? Maybe,
Some adventures are good untravelled
What if I seek dance in
The still trees and fully
Blossomed but burdened petals
Of this red red flower, Maybe
Some emotions are best unspoken
Nothing has
Broken down in this part of
The world. The passers by
Still passing, the pretentious
Still talking
What if I seek forgiveness in
This waning crescent moon,
This stillness, this halt
This long drawn silence is not
Here to stay forever,
But it’s still mine
So I don’t see anything moving
But my memories, Maybe
Some notes are better unplayed
Some songs,
Better unsung.

 

Picture: It’s me trying to discover Fort Kochi

Lyrics

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Seldom songs will just be played
When it’s not the music
That we need, but
The words.
I would want your love, laying
Right at that couch, in
The living room.
I would want that touch, not
For I need what love gives
But to realise,
All what it failed to make
Of our lives.

 

Picture : Well, that’s me chilling at the beautiful coastal city of Kochi

What Happened Miss Simone? (2015)

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There is a controversy on social media. Zoe Saldana, a light skinned black woman, has been cast to play the singer songwriter Nina Simone, who was a very dark skinned black woman, in the upcoming biographical drama Nina. After having watched Liz Garbus’ brilliant documentary What Happened Miss Simone, I can fully understand why casting Saldana was a bad idea. Nina Simone was black the way Joan of Arc was French, or Dostoevsky Russian, an archetypal figure who can’t be watered down without doing violence to her essence.

Eunice Kathleen Waymon was born in 1933 in Tryon, North Carolina, deep in the heart of the Jim Crow South. As a child she dreamed, not of being a singer, but of being a classical pianist. When she was turned down as a student by the Curtis Institute of Music in Philadelphia, and began to play in small, often seedy nightclubs, she changed her name to avoid embarrassing her conservative, religious parents. Eventually the owner of the Midtown Bar & Grill on Pacific Avenue in Atlantic City demanded that she sing as well as play the piano, and she found her calling. Throughout the 1950s and 1960s, her popularity grew. She wrote songs, recorded both studio and live albums, and toured throughout the Europe and the United States. She become involved, not only in the Civil Rights Movement, but in the radical, black nationalist wing of the Civil Rights Movement. “I don’t believe in non-violence,” she remarked to Martin Luther King. The Civil Rights Movement, in turn, became involved in Simone’s music, inspiring songs like Mississippi Goddam and “Why? (The King Of Love Is Dead)”, written after King’s murder. Not surprisingly, Simone’s radicalism damaged her career, even as it enriched her art, getting her blacklisted by radio stations all over the United States. When the black nationalist movement she sang for and about eventually got smashed by the federal government and faded away, her opportunities to perform, and her income, were diminished. As her career fell apart, she fell apart, the damage done to her soul by racism, a history of mental illness, and by an abusive, exploitive husband, turning her against her daughter, and herself. She became angry, emotionally unstable, unable to perform without the psychotropic drugs that damaged her ability to play the piano. She died in 2003, well-known but not fully appreciated for the great artist she was.

I could have easily heard Nina Simone play live. I was 38 years old when she died, but to be honest, I had no idea who she was until fairly recently. That doesn’t mean I’ve never heard her music. I grew up hearing quite a few of her songs, but only, and this is important, in cover versions. If Hollywood is about to dilute her memory by casting Zoe Saldana in her fictionalized biography, it’s really nothing very new. In the 1960s and 1970s, Simone was too radical for mainstream radio, but far too great an artist to completely ignore. So they served up her music in white face. I grew up hearing Don’t Let Me Be Misunderstood. It’s part of my childhood, but I heard it sung by the British rock and roll group The Animals, not by Simone herself. I had no idea the song Ain’t Got No, I Got Life that Treat Williams performed in Milos Foreman’s film version of the musical Hair had been written by Nina Simone. I’m not knocking Milos Foreman or The Animals, but I was amazed by just how much more depth Simone gave the lyrics than Eric Burdon. I had always through Burdon was singing lyrics he didn’t entirely understand, but it was only after I saw What Happened Miss Simone that I fully understood why.

As different as I am from Nina Simone, I came away from What Happened Miss Simone feeling as if I had been introduced to a kindred spirit, a soul mate I never got a chance to meet. Simone wasn’t just a performer or a singer, but a woman who had deeply wounded by American racism, and could only really stay alive as long as she was able to transform her pain into her art. As the Jazz critic Stanley Crouch remarks midway through the documentary, she was too much of a rebel for the revolution, an outcast among outcasts, a radical among radicals. It’s a testament to a powerful soul that she made it to the age of 70, that she kept pushing against the demons inside her in order to create her music until the very end. It’s also a testament to the radical politics that got her pushed out of the mainstream in the 1960s and 1970s. Perhaps if Kurt Cobain or Amy Winehouse had discovered something to fight for, they might have found a reason to live past 30, even if it had meant another 40 years of pain and emotional anguish.

Amy (2015)

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Most creative artists undergo a long apprenticeship in their chosen medium. They struggle to find their voice, their subject, the ideas they want to express. When any recognition, let alone fame and fortune, finally arrives, they drink it down like water in the desert.

For Amy Winehouse, the problem wasn’t a lack of talent. It was too much talent. As we can see in the opening of Asif Kapadia’s new documentary Amy, Amy Winehouse is a fully mature jazz singer at the age of 14. She never has to struggle to find her medium. Her medium finds her. Her voice isn’t something she has to work for. It’s something that comes up from the dark recesses of her subconscious, a demon that stalks her as a child, and lays out the path of her self-destruction as a young adult.

In her teens and in her early 20s, Amy Winehouse is just another dedicated singer, a young woman who cares more about telling us what’s inside of her than in getting a record deal. She’s not an intellectual. She’s more like a female Mick Jagger, a sexual, charismatic, performing artist who at times seems so ugly that she’s beautiful. Like a man, she drinks a lot, takes a lot of drugs, and sleeps around a lot. Like a women, she is needy and falls in love with the wrong “bad boy,” Blake Fielder, a skinny dirt bag with thinning hair who gets her addicted, makes her dependent, toys with her emotions, then abandons her.

Amy Winehouse’s parents are nondescript working-class morons who have won the lottery. Her father attaches himself to her successful career like a leech to the bottom of a ship, playing paparazzi to his own daughter, trying to sell footage of her private life to the media even as she sinks into alcoholism and despair. There are a few people who genuinely care about Amy, some childhood girlfriends, her band members, mostly black, musicians who appreciate her vast talent, but who can do little to help, her bodyguard, who watches with horror as the darkness begins to engulf her.

For the media, Amy is a phenomenon who eventually becomes a punch line. Her hit album Back to Black makes her wealthy beyond her wildest dreams. It also seems to stand in the way of her ability to express herself, to use her music to release the demons in her soul. Like her voice, Back to Black becomes something outside of her as an individual, a burden instead of a gift. As successful as she is, Amy becomes a proletarianized factory worker on the assembly line of the music industry, a genuine artist who gets locked into the role of white Jazz singer, her heavy, sultry voice the product, her emotions the surplus value that are taken from her in exchange for dirty fame and money.

Amy ends her career by going on strike. In her last live concert, she simply refuses to sing. Instead, she just stands on stage drunk, a silent protest against the music industry that has made it impossible for her to express her ideas, a rebellion against the voice that, like South American gold or Middle Eastern oil, has caught the attention of the greedy predators, and has given her little or nothing in return. Her silence is more eloquent than her words. She refuses at long last to be a commodity.

The most heart breaking scene in Amy is a duet with Tony Bennett. Here is the caring father she finally needs, an older man who recognizes her talent, and seems ready to help guide her through the struggle to stay alive, someone she’s looked up to since she was a child. But it’s too late. Amy Winehouse is already a dead woman at the ripe old age of 27. Bennett’s appearance is like that of a benevolent angel who briefly stays the hand of death. Realizing he is helpless to intervene, he stands back and bears witness to what she might have been.