Border Radio
A Film by Allison Anders, Dean Lent, and Kurt Voss

When you think of The Criterion Collection, you probably don't think about low-budget, first-time films from the student level---usually quite the opposite. But this one is a little different, as it gives us a rare opportunity to see the early work from a group of filmmakers who went on to award-winning glory.

Border Radio takes us back to the crazy, hazy days of mid-80s, post punk California, where the film is set in the ugliness of the underground music scene. The film stars Chris D. of The Flesh Eaters, along with John Doe of X, two of the icons of independent music from this era.

Make no mistake, this is a student film through and through. The story is a jumbled concoction of plot lines, centered around a would-be indie rockstar who steals cash from a club owner and has to flee to Mexico. There's a love triangle of conflict which forms between the rocker, his wife, and his best friend, providing the impetus for his eventual return. The acting is sketchy, the production is even sketchier, and the overall end product is haphazard at best.

But beyond that, there is a beauty here which belies the reasoning behind warranting a Criterion release. The independent spirit which drives the film is quite palpable, and the music scene is the obvious motivation. It's art for art's sake. Border Radio wasn't made to please an audience or gain accolades in the mainstream, it was made to capture the essence of independent art.

Ironically enough, the film which started out as a bare-boned class project gets the full Criterion treatment, which means plenty of extras on the DVD, including deleted scenes, a making-of documentary, and two separate commentaries from the directors and the actors.

MISH MASH Mandate: Mexican Radio

The Criterion Collection Website

Did video really kill the radio star? Or has it been around longer than we realize? Saul Austerlitz examines the long overlooked history of music combined with images, from the beginnings of sound in films in the 1920s, to the golden era of MTV in the 80s & 90s, to the present explosion of vast amounts of music video available on the Internet.

According to Austerlitz, music video has far more impact than we give it credit. One part art, another part commercial, the modern music video is a unique combination that serves many purposes beyond simply showcasing the latest and greatest pop act. He argues that music video can be political, artistic, or commercial, that it can't be neatly put into one category so easily.

The history that Austerlitz unravels is one that focuses mainly on the music videos themselves, those that garnered the most attention over the years, and the trickling down of their impact to the rest of popular culture.

MISH MASH Mandate: I Want My MTV
Continuum Publishing Website

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Richard Johnston:

Hill Country Troubadour

a film by Max Shores

University Of Alabama for Public Televsion

This is the mesmerizing story of Richard Johnston, a one-man band blues street musician who has ignited a new spark in the world of Southern blues. The film shows Johnston in his element, playing on the sidewalk on Beale Street in Memphis, singing into a microphone, strumming his guitar, and playing drums with his feet. It's an amazing performance, and by the size of the audience, he is obviously a crowd pleaser.

The film traces Johnston's music-making history, starting from his early days playing in Junior Kimbrough's juke joint in Mississippi. There he learned how to play in the style of north Mississippi blues, honing his chops in the so-called "Hill Country" to play his music in a self-described "trance"-like fashion.

From there, Johnston has taken this unique sound from the backwoods of Mississippi to the rest of the world, as he has graced stages all over the globe. The added bonus is the nature of his performance, being that it is unusual to see a middle-aged white man playing gritty blues songs in such an honest and genuine way --- especially in a one-man band format. It's an odd sight to see, and the fact that he's so good at it makes it even better.

The documentary features interviews with Johnston, along with interviews with a couple of his blues inspirations; Jessie Mae Hemphill, and R.L. Burnside. There is also a wealth of performance footage, showing Johnston doing what he does best. The film is now making the festival circuit, with plans for it to be released on DVD in the near future.

MISH MASH Mandate: Street Corner Blues
Max Shores Website

Richard Johnston Website

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