theguardian.com
Dig! XX": A 20-Year Retrospective on Rock and Roll Success and Failure
Ondi Timoner's re-released documentary "Dig! XX" follows the Dandy Warhols and Brian Jonestown Massacre over two decades, contrasting their divergent paths to success and failure within the rock and roll world, highlighting the struggles of addiction and mental health alongside the pursuit of fame.
- How does the film portray the relationship between the two bands, and what role does this dynamic play in shaping their individual journeys?
- The film contrasts the Dandy Warhols' commercial success with the Brian Jonestown Massacre's chaotic, self-destructive path. The Dandy Warhols, while achieving success, grapple with feelings of selling out, while the Brian Jonestown Massacre maintain artistic integrity amidst their struggles. This highlights the different paths to success and failure within the rock and roll world.
- To what extent does the documentary explore the mental health struggles of Anton Newcombe and Joel Gion, and how does this impact our understanding of their actions and choices?
- The documentary raises questions about the romanticization of the rock and roll lifestyle and its consequences. Anton Newcombe's struggles with drug abuse and mental health, and the film's portrayal of him as a 'damaged genius,' prompts reflection on the societal pressures and expectations placed upon musicians. The contrast between the bands' trajectories also underscores the unpredictable nature of success in the music industry.
- What are the key contrasts in the trajectories of the Dandy Warhols and the Brian Jonestown Massacre, and what do these differences reveal about the realities of success and failure in the music industry?
- Ondi Timoner's documentary, "Dig! XX," re-released after 20 years, offers an expanded look at the Dandy Warhols and Brian Jonestown Massacre. The 40 minutes of extra footage includes a coda showing band members, now in middle age, pursuing careers in real estate. This highlights the contrast between the bands' youthful rock and roll aspirations and their current realities.
Cognitive Concepts
Framing Bias
The framing emphasizes the 'epic dual story' of success and failure, setting up a narrative that contrasts the two bands. The description of the ending as 'brutally and suddenly visiting grey-haired middle age' on the musicians subtly frames their aging as a form of downfall, particularly in contrast to their younger, more rock and roll personas.
Language Bias
The language used is largely descriptive and engaging, but some terms ('gorgeous rock'n'roll exquisites', 'motormouthed self-pity', 'squalid shared apartment') carry subjective connotations that could subtly influence the reader's perception. More neutral alternatives could be used to maintain objectivity. For instance, 'rock and roll musicians,' 'self-critical,' and 'shared living space'.
Bias by Omission
The review focuses heavily on the two bands' contrasting paths to success and failure, potentially omitting other important aspects of their careers or personal lives. The reviewer mentions Anton Newcombe's drug abuse and rehab, but acknowledges the film's limitations in fully exploring this. The review also doesn't delve into the broader context of the psych rock scene during the period covered by the documentary.
False Dichotomy
The review presents a somewhat simplistic dichotomy between the Dandy Warhols' commercial success (tainted by 'selling out') and the Brian Jonestown Massacre's artistic integrity (redeemed by self-destruction). This ignores the complexities of both bands' experiences and the various factors contributing to their respective trajectories.
Sustainable Development Goals
The documentary focuses on the music industry and does not directly address poverty issues.