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Let’s Talk The Grammy 2013 Rock Nominations, Shall We?

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The official 2013 Grammy nominations list has been released and, as per usual, it takes the opportunity to laud and celebrate what the radios and mass media have been shoving down our throats for the past year (thank god we can use mp3 players and dictate what we want to listen to, right?). Now, I basically just completely ignored the vast majority of categories and immediately scanned down to find the four categories that interested me: Best Rock Performance, Best Hard Rock/Metal Performance, Best Rock Song, and Best Rock Album. And what I found was pretty…well, it was pretty confusing.

Here, let’s look at the categories and their nominations individually:

Best Rock Performance
“Hold On” – Alabama Shakes
“Lonely Boy” – The Black Keys
“Charlie Brown” – Coldplay
“I Will Wait” – Mumford & Sons
“We Take Care Of Our Own” – Bruce Springsteen

I’ll say this, I can totally understand Alabama Shakes, The Black Keys, and Bruce Springsteen. I get those choices. But Coldplay and Mumford & Sons? I listened to “Charlie Brown” and that song is basically dance pop, not rock. And Mumford & Sons are country/bluegrass. I don’t care if they have a rock attitude, they’re not rock. At all.

Best Hard Rock/Metal Performance
“I’m Alive” – Anthrax
“Love Bites (So Do I)” – Halestorm
“Blood Brothers” – Iron Maiden
“Ghost Walking” – Lamb Of God
“No Reflection” – Marilyn Manson
“Whose Life (Is It Anyways?)” – Megadeth

Alright, you know what? For as much as I wish that other artists, such as Baroness, Meshuggah, Gojira, etc…, were on the list, I will say that each of these bands are either “hard rock” or “metal”. At least they put them in the right category.

Best Rock Song
“Freedom At 21” – Jack White, songwriter (Jack White)
“I Will Wait” – Ted Dwane, Ben Lovett, Winston Marshall & Marcus Mumford, songwriters (Mumford & Sons)
“Lonely Boy” – Dan Auerbach, Brian Burton & Patrick Carney, songwriters (The Black Keys)
“Madness” – Matthew Bellamy, songwriter (Muse)
“We Take Care Of Our Own” – Bruce Springsteen, songwriter (Bruce Springsteen)

Again, why is Mumford & Sons on here? Also, Muse’s “Madness”? That’s not rock at all! Seriously, listen to the song and tell me it’s rock. Is Muse a rock band? Yes. Is this song rock? No. If you’re going to make a category that focuses on the merits of the individual track, then place the track in the right category.

Best Rock Album
El Camino – The Black Keys
Mylo Xyloto – Coldplay
The 2nd Law – Muse
Wrecking Ball – Bruce Springsteen
Blunderbuss – Jack White

Having not listened to Mylo Xyloto in the slightest, I can’t really say anything about that nomination. However, at least the others are rock, so I can’t knock them for placing them there.

As per usual, the Grammy awards are lauding bands that don’t really need the attention. And while I’m perfectly aware that it’s impossible to listen to every song and every release that the year puts out, it’s painful to see that they’re not even trying to dig a little deeper.

Got any thoughts/questions/concerns for Jonathan Barkan? Shoot him a message on Twitter or on Bloody-Disgusting!

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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