on choosing a rock song to end 'Fahrenheit 9/11' <SPOILER ALERT>

Well, it sounds like everyone got what they needed: Michael Moore got a better song for his purposes from someone who shared his convictions, and Pete Townsend was able to preserve the sanctity of his publishing catalog, in case corporate America comes calling again: "Don't get fooled again -- use H&R Block for your tax time needs."

 

It is kind of interesting that Pete was unwilling to let the song be used in a film unless he could see it and decide if he agreed with the content, yet he seems willing to sell his songs to pretty much any TV commercial producer that's willing to pony up the dough. Or can we infer that Pete only licenses Who songs to companies whose products and services he personally endorses?

 

A TV ad sells products, for the most part. A movie sells ideas. I think it's totally appropriate for Townshend to want to know about, and even agree with, the contents of the film - especially a documentary which takes a definite political position - before lending his own creation to its service.

Jim W

 

Once again, Michael Moore manufactures another phony controversy to serve his own means. Kudos to Pete for sticking to his guns.

James

 

It's equally likely that Moore was just misinformed about Townshend's position.

 

Reminder: this is starting to touch on politics. Lets keep away from Mr. Moore's possible motives.

[Note: This is an automated posting. Holy Zoo is really asleep, this post is from the robototic AutoGort™ Potential Problem Detection System (or APPDS for short)]

 

If Pete now has doubts he didn't earlier on, many of the lyrics fit his point perfectly. But I can see his concern about Moore's agenda and accuracy too. Very interesting.

 

i can't believe pete townsend turned down money.

had the song been used, more people might have wanted to buy "who's next" and then townsend could have re-released it for the umpteenth time! (with newly discovered bonus tracks, of course)

renny

 

I agree that I enjoyed Neil's song at the end. The entire duration of the movie, I thought that I would hear War Pigs at some point. I'm really surprised that it was not in the movie, but have no idea if it was ever considered or if there was a story behind it's exclusion if it was. Maybe if I view the DVD in my home, I can do an "Almost Famous" moment and insert it myself where I feel it's appropriate! Not talking politics, just talking music.

 

Michael Moore distorts the truth? How's that possible?

 

Paul, stay out of this thread for the duration. Thanks.

 

Wags, please also stay out.

Thanks.

jeff

 

I think I was the only one who called Moore "a great documentary filmmaker". Perhaps that was a bit over the top for those with more discriminating tastes. I am not a filmmaker, so I wouldn't presume to know anything about what a documentary is or what it's supposed to be. However, I've always felt that a non-fictional film, about real-life events, unfolding before the active lens of an eager director, will be shaped somehow by a certain point of view in the end.

I think this is okay, as long as those views are supported by facts, wherever possible. Perhaps Townshend is right, Moore's "facts" are not convincing to everyone, but you need to do your own homework before deciding on what is propaganda and what isn't.

 

I also thought the use of music in the film was very good, and not just the closing song. I don't know what it was (composer, performer?), but the music that played during the sequence devoted to the 9/11 terror attacks and the immediate aftermath was very moving. And, of course, some of the song choices were truly amusing, in typical Michael Moore style.

 

From personal experience, I know that Pete is both tight and thoughtful about how his image, thoughts, experiences, and works are used by others, for profit or not.

His explaination sounds reasonable.

 

Hats off to the gorts for policing this thread.

It sounds like neither Michael or Pete got the full story. I can easily see that their negotiations, and more importantly their positions, were distorted by the time it reached either end. Happens all the time, especially when dealing with publishers.

 

I hope this isn't taken as political, but I only consider the film a documentary in the broadest sense of the word. I loved the film and you can take that as you will, but I don't consider it a great documentary.

 

In the strictest academic sense of the word, it is a documentary. Every documentary presents a slant on reality. The nature of film makes absolute realism impossible. Quibbling over the term "documentary" will lead to the closing of this thread, I predict.

 

Due to the highly controversial nature of anything to do with Michael Moore, and Fahrenheit 9/11, it would probably be in best interest of the forum from this moment on if all current threads on the subject were locked down, and all future ones banned. This would be the most prudent action to take, as it is almost impossible to keep any thread regarding this subject from becoming politically charged. I think we would all hate to see a civil war break out here on this great board and poison it's atmosphere, as has sadly happened to a number of other forums across the net in recent days.

James

 

Hey, James, don't you have any confidence in your Gort team?

We certainly wouldn't let it come to "civil war" or anywhere close.

All: Please stay on subject and leave the gorting to us, alright? You'd hate to see us standing in the moderator bread line, after all. Thank ya.

 

It seems to me that most of the comments above have stayed on topic or at least broadly on topic in terms of being about the music in the film. I think most of us understand the posting guidelines here and can honor them.

 

I haven't read much here in the way of political bantering. Thread crapping may be a more legitimate concern in this case. I just thought it was cool that some Who music might have actually made a statement in an important and controversial film rather than a car commercial, for once.

The way one chooses to classify this film is not on topic, and totally irrelevant on so many levels. I'd rather you told me that Michael Moore prefers his DE to the SH version of Who's Next.

Now that might start a civil war on this board.

 

Been biting my tonque since it started...

 

Eh, "Won't Get Fooled Again" wouldn't have worked as well as "Rockin' In The Free World." It was a great way to end a great movie.