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Spinal Tap goes viral, Kate Bush-style, in upcoming sequel

Spinal Tap goes viral, Kate Bush-style, in upcoming sequel

Yahoo3 days ago
Ask anyone on the street about the upcoming sequel to Spinal Tap, and they'd probably look at you quite strangely. Believe us, we know. For months, we've been conducting surveys with street people regarding the cultural awareness of Spinal Tap II: The End Continues, and most respond with a casual, 'Oh, didn't hear about that one.' Part of that is because much of the excitement surrounding Spinal Tap these days is focused on the re-release of the original This Is Spinal Tap in honor of the film's 41st anniversary. The other half is that there hasn't been that much promotion regarding the film, its plot, or its release since its announcement. But The End will continue this fall, when Spinal Tap II hits theaters, hopefully to reviews that warrant a little more than two words.
Ahead of the re-release and the new film, director and co-star Rob Reiner, who plays Marty DiBergi, the diegetic director of the movie within the movie, shared the set-up for the sequel with Collider and explained why this is all Kate Bush's fault. Reiner says that the film opens 15 years after Nigel Tufnel (Christopher Guest), David St. Hubbins (Michael McKean), and Derek Smalls (Harry Shearer) last played together. Not only had they not played together, but 'they were not talking to each other. It was bad blood.' Over the course of the film, we find out what caused the bad blood, but more interestingly, why they decided to get the band back together. Following the death of their manager, Ian Faith (played by the late Tony Hendra in This Is Spinal Tap), Faith's daughter is bequeathed the group's contract, which stipulates one more performance. Reiner continues:
[Hope] thinks, 'Well, this is worthless because they haven't played in 15 years. Who knows about these guys?' Then we thought of Kate Bush, who had a song of hers on that show, Stranger Things. All of a sudden, there was a resurgence of this song and her and everything. We said, 'That's it.' We get a famous rocker or somebody to be screwing around in a soundcheck, sings a song of Tap's, somebody catches it on an iPhone, sticks it up on TikTok, it goes viral, and all of a sudden this last concert becomes valuable. That became the premise of the film. That's as much as I can tell you, but that's how we came up with the idea.
We can't wait to see what streaming series caused 'Sex Farm' to break like the wind on TikTok, but as far as premises for a legacy sequel to a landmark mockumentary goes, that's not the worst in the world.
Spinal Tap II: The End Continues is gonna rock you in theaters on September 12.
Correction: An earlier version of this article misstated that Ian Faith played Tony Hendra. This was incorrect. The late Tony Hendra played the character Ian Faith in This Is Spinal Tap. This has been corrected throughout. We regret the error.
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If You're Committed To Scrolling Less, Here Are 31 Screen-Free Activities That'll Capture Your Attention

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‘Spinal Tap II: The End Continues' Trailer Sees the Lads Reunite for One Last Gig
‘Spinal Tap II: The End Continues' Trailer Sees the Lads Reunite for One Last Gig

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‘Spinal Tap II: The End Continues' Trailer Sees the Lads Reunite for One Last Gig

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Spinal Tap defined a real genre with a fake band
Spinal Tap defined a real genre with a fake band

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Spinal Tap defined a real genre with a fake band

'It's such a fine line between stupid and clever.' If movies have a mantra, this bit of philosophizing by Nigel Tufnel (Christopher Guest) and David St. Hubbins (Michael McKean) is as good as any. Along with Derek Smalls (Harry Shearer), and joined by a rotating band of musical collaborators that includes many drummers who suffered from calamitous outcomes, the members of Spinal Tap redefined the ridiculousness of rock 'n' roll while devoting themselves to reality. Considered by many to be the 11th greatest film ever made, Rob Reiner's This Is Spinal Tap began its cinematic tour on March 2, 1984 and, like a bad case of tinnitus, has continued to resonate until it heads back into theaters July 5, and into the Criterion Collection later this year, ahead of its sequel. Culled from over 100 hours of mostly improvised footage, the film spoofs the hard rock genre by following this trio of gormless Brits as they attempt to conquer the U.S. on a tour, only to eventually find themselves playing as a warm-up act for a puppet show. Four decades later, the film's precise satire has lost none of its sting. At once preposterous and completely in keeping with the excesses of the rock star lifestyle, it's one of those rare parodies that ends up more truthful than their subjects. Given the vagaries of negotiating music rights clearances, gaining backstage access, or simply filming at a given venue, the history of popular music is often being written on film by those with a vested interest in maintaining the illusions of stardom. What makes Spinal Tap so brilliant is that it became an avatar for all those stories about performing artists that couldn't be told without resulting in career suicide. This only works if there's deep plausibility in the construction of the satire, a sense of reality opposing the highly polished portraits that bands are often treated to. This unvarnished comedy is buttressed by a band that can actually play, and songs written by the cast that rival almost anything from their targeted era. One need only look to the poorly animated black blob blocking the cocaine booger in Neil Young's nostril in The Last Waltz, or the members of Led Zeppelin solemnly riding boats and horses in The Song Remains The Same between carefully restaged 'live' performances, to see how even the most celebrated music films have always had a tenuous connection to the truth of the music and lifestyle. Meanwhile, some projects that dared to get too close to the actual debauchery of the lives of these musicians saw their projects shelved, the most famous case being Robert Frank's salacious Cocksucker Blues. Much of Spinal Tap's brilliance is found in its use of the tools of direct cinema documentary filmmaking, drawing its form from masters such D.A. Pennebaker and the Maysle Brothers. Their films (Dont Look Back, Gimme Shelter) helped define rock canon, while Reiner, Guest, McKean, and Shearer, along with an all-star cast of improvising comedians, helped see beyond it. By turning the tools of truthtelling upon themselves, the film laid the groundwork for generations of other mock-docs that took a similar tact. Spinal Tap's shooting script supposedly consisted of only a few locations and circumstances and little in the way of dialogue, allowing for the performers to inhabit their characters with deep verisimilitude. It's in this context that Reiner's filmmaker alter-ego Marty Di Bergi arrives. Festooned in a 'USS Ooral Sea' cap that provides one of the film's more subtly salacious jokes, Marty conducts a series of sit-down interviews with the musical trio as they reflect upon their career as they are about to set off on tour. Cinematographer Peter Smokler captured the proceedings with a documentarian's eye, his sweeping handheld aesthetic mirroring Pennebaker's lensing. Smolker, having worked on another celebrated film that skated on the border of truth and fiction, Peter Watkins' Punishment Park, captures the improvisations with the clarity of a seasoned documentarian, presenting the vérité nature of the conversations as truthfully as any non-fiction film. The same level of verisimilitude that Reiner and Smokler used in the filmmaking process was brought to the music. The central trio played their own instruments, and reshoots were done to ensure that the fingering of each guitar note was accurately portrayed. Like the songs of Tom Lehrer from a generation before, there's an astonishing balance between the profound and the silly in just about every note played, while standing as actual works of art themselves. Songs such as 'Stonehenge,' 'Tonight I'm Gonna Rock You Tonight,' or 'Hell Hole' are the equal, if not the better, of the Uriah Heep/Black Sabbath/Iron Maiden era of rock bombast that the band's aesthetic echoes. While the backstory of the band was fictional, that's really McKean, Shearer, and Guest tilling away during the sonic visit to 'Sex Farm,' making the border between real and fake band all the murkier. Spinal Tap floods this murkiness with jokes, balancing broad and subtle humor. While the jokes oscillate between the obvious and the cerebral, the sense of realism injects them with the natural absurdity of real-life situations, making their effect far deeper than more straightforward comedies meant to simply mine laughs. While 'mime is money' is an instantly quotable line, as is the immortal dialogue about dialing amps 'up to 11' or the licking of love pumps, some more atmospheric jokes are far easier to miss as they quickly go by. When their Boston show is cancelled, the band's manager Ian Faith (Tony Hendra, channeling everyone from Brian Epstein to Peter Grant) tells the band that they 'shouldn't worry about it, it's not a big college town.' It doesn't feel like a joke, more a funny throwaway that simply adds to the texture. Similarly, while 'Big Bottom' is the stuff of poetry, non-musicians may miss that this bottom-heavy track has each front-of-stage instrumentalist playing bass guitar, with Smalls donning the even more preposterous double-necked bass for no discernible reason other than it's awesome. Driving the point home even further, the band invited 18 additional bass players to join them on stage at their 2007 Live Earth concert, which surely produced a rumble that would have registered on local seismometers. The playful use of graphic design also makes the world of Spinal Tap that much more believable. There are lurid covers for the band's fake albums, as well as a poster on the way to the greenroom where the 'p' in 'Tap' has been omitted because the designer clearly ran out of room (poor planning being a running gag throughout the film). Even the gratuitous use of the umlaut above the n in 'Spin̈al Tap' takes a dig at Blue Öyster Cult. The most memorable image, though, comes after their label rep (Fran Drescher) describes the rejected artwork for Smell the Glove: a cover photo of 'a greased naked woman on all fours with a dog collar around her neck, and a leash, and a man's arm extended out up to here, holding onto the leash, and pushing a black glove in her face to sniff it.' Instead, Spinal Tap is forced to go with a plain all-black cover, an obvious allusion to the Beatles' White Album. It's this combination of visual and verbal humor—along with cleverly constructed lyrics and moments of almost contemplative normality that are surreal in context, be it the zombie-like shuffle of the dancers at the air base, or the solemn singing at Elvis Presley's grave—that define how seriously the film takes its comedy. There's a complete absence of mugging for the camera or milking a specific joke, revelling instead in what actually comes across as normal for this struggling, out-of-touch band. This truthiness provides the most acerbic satire, one that doesn't need to be underlined, and one that would be part of its lasting legacy. Following Spinal Tap, Guest would take the lead in this genre of improv-heavy mock-docs (Waiting For Guffman, Best In Show, For Your Consideration, A Mighty Wind) and in turn help firmly establish this genre of comedy. Other films followed Tap's music-themed path more literally. CB4 and Fear Of A Black Hat probed the excesses of hip-hop, the genre that would supplant heavy rock's dominance. Popstar: Never Stop Never Stopping is as carefully constructed and glossy as its musical genre of choice, and the core members of Lonely Island, from 'Lazy Sunday' onwards, owe a debt to their Tap forefathers (and Saturday Night Live predecessors). Then there's Walk Hard, Jake Kasdan and Judd Apatow's exquisite take on the award-bait biopic that helped crush the genre for a decade. Poking fun at everyone from Johnny Cash to Jim Morrison, what makes the satire so stinging is the precision of the brilliantly crafted songs. Mostly written by Dan Bern and Mike Viola, they are tracks—like those in Spinal Tap—so lovingly produced that they feel like they were hits from a former era rather than contemporary creations. Spinal Tap came out as MTV was in ascendance, and the big hair and big sound of heavy metal was soon to take on an even more flamboyant image as the decade wore on, building upon the 1970s excesses to the commercial heights of the recording industry. The bands that would follow—R.A.T.T., Poison, Guns N' Roses, and Metallica to name a few—couldn't help but be seen through the vision that the fictional story brought to bear, and artists in particular found deeper truths in its absurdity. Even indie darlings like Kurt Cobain were in on the joke, and Soundgarden would habitually perform Spinal Tap covers with only a small hint of irony. That blurry line would eventually be erased entirely, as Guest, McKean, and Shearer played stadium shows to massive crowds. Their second released record, 1992's Break Like The Wind featured legendary performers like Jeff Beck, Cher, Walter Becker, Joe Satriani, Slash, Nicky Hopkins, Waddy Wachtel, Dweezil Zappa, and Steve Lukather. The further away from the mid-1980s we get, the less Spinal Tap feels like insightful-yet-silly fiction and more like absurd-yet-prescient prediction. Both Metallica and Jay-Z would eventually copy the band's 'Black Album' aesthetic, and amid the brouhaha regarding Sabrina Carpenter's upcoming album cover was speculation that it was paying homage to the band's rejected album cover. Incurring a 'Spinal Tap moment' is shorthand to describe any concert mishap, with entire lists of similar debacles proving how often fact mirrors fiction. When Beyoncé gets trapped in a flying car as part of her stadium show it's impossible not to think of Derek Smalls trying to extricate himself from an errant egg, and when Slash yells out 'Hello Sydney!' in Melbourne, he apologizes for a 'Spinal Tap intro.' The music of Spinal Tap stands comfortably alongside the rockers that it both mocked and celebrated, while its filmmaking craft is the equal of the form-shaping documentaries it was in conversation with—all while asking why one should 'waste good music on a brain.' The separation between high and low art doesn't need to be there; great art is a delicate mix of stupid and clever. It's by navigating this supposed divide that legends are born, stadiums are rocked, audiences are wowed, and genres are changed forever. Like the lyrics they sing immortalizing the petroglyphs of Stonehenge, Spinal Tap's 'legacy remains, hewn into the living rock.' More from A.V. 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