All that discussion about X-Men: Days of Future Past made me think about how much I love time travel in movies. Even though it can be a major pain in the arse somethings (in the wrong hands) but overall, some of my favourite movies have involved time travel in some shape or form.
My very first exposure to this scifi concept was in the 60s when as a child, I watched two seminal time travel films on TV. The first one was of course, The Time Machine. Released in 1960, this loose adaptation of HG Wells’ classic scifi novel by director George Pal is still one of the best time travel movies (forget about that awful remake). The movie ending played on my mind as a child and I remember not being able to sleep as I analyzed the movie over and over again. Brilliant. Here’s a video review of the DVD below.
When I first watched X-Men: First Class, I had a big issue with reconciling it with the original X-movie trilogy and even X-Men Origins: Wolverine. Most of First Class did not add up continuity-wise. If both the USA and Soviet Union were made aware of mutants in 1963 (and the power they possessed), then why was nothing done to hunt them down and destroy them? If Professor X and Mystique had known each other since they were children, why was there no indication of this whatsoever in the trilogy? And so forth.
Back in the 70s, the Government conducted a smear campaign against rock n roll and labeled it as ‘yellow culture’ meaning it was decadent and unsuitable for nation building blah blah fucking blah. But to be fair, many countries worldwide were unable to accept the hippie generation (including its originator, the USA) – it’s just that it was possible in Singapore to utterly destroy the thriving local music scene in order to stamp out this undesirable phenomenon. Which they duly did.
With Singapore indie pop music on the ascendancy, it is important not to neglect alternative music that embraces more artistic and esoteric values. Whilst the success of indie pop in Singapore will still be judged by the usual key performance indicators like number of digital downloads, ticket sales, radio play, Facebook likes and Twitter followers, this form of so-called art-rock deserves to be embraced on its own terms – art for art’s sake. In that respect, local art-rock collective The Observatory has taken the lead in not only organizing its own gigs but also curating music events that aim to expose Singapore audiences to new sounds viz, the Playfreely series of 6 shows and MOHA! in 2011 and for this year, the 3 day event Playfreely II, MoE (as part of the Transitions tour).