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  #1  
Old 02-07-2013, 07:53 PM
jcalzaretta jcalzaretta is offline
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Default Show Americans

Did anyone watch that new show? They are Russian KGB? Anyway - the premiere episode played the song Tusk much throughout the whole episode. Pretty cool.
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  #2  
Old 02-07-2013, 08:03 PM
jbrownsjr jbrownsjr is offline
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yes, very cool versioin too. Vocals sounded amazing on my HD speakers.
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Old 02-09-2013, 09:39 PM
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Tusk aside, what an amazing show! I've never seen anything on TV that is so edge-of-your-seat intriguing.

Matthew Rhys also looks like Lindsey Buckingham, or enough like him at least that I found the use of Tusk appropriate.

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Old 02-09-2013, 10:24 PM
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Quote:
Originally Posted by KarmaContestant View Post
Tusk aside, what an amazing show! I've never seen anything on TV that is so edge-of-your-seat intriguing.

Matthew Rhys also looks like Lindsey Buckingham, or enough like him at least that I found the use of Tusk appropriate.

He reminds me of Bill Murray
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  #5  
Old 05-25-2013, 06:23 PM
michelej1 michelej1 is offline
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Excerpt from Sydney Herald Review:

THE AMERICANS
Monday, 8.30pm, Channel Ten
★★★★

I'd heard good things about this new series from FX, and I wasn't disappointed. This is a smashing production in every respect, with a smart script, great plotting and a great soundtrack (the use of Fleetwood Mac's Tusk during the opening scenes is inspired).


Read more: http://www.smh.com.au/entertainment/...#ixzz2ULkOlC00
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Old 05-25-2013, 10:40 PM
bethelblues bethelblues is offline
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I loved how they used Tusk in the pilot. How they peeled away the layers of the song to include just the instrumental before the action built up for Lindsey's vocal. The review above is absolutely correct, it was inspired, a great example of how to use a song for television or film.
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Old 12-03-2013, 02:11 PM
michelej1 michelej1 is offline
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A. V. Club

In 2013, no show used pop music better than The Americans

By Erik Adams• Dec 3, 2013 • 12AM

http://www.avclub.com/article/the-pa...icans-m-200571

2. Fleetwood Mac, “Tusk” (Pilot)

Of course, the “In The Air Tonight” of TheAmericans premiere is actually the title track from Fleetwood Mac’s double-LP follow-up to Rumors. Interpolated with the Eastern European flourishes of Nathan Barr’s instrumental score, the song lends the proper sense of spy-movie dread to the Jennings’ first major narrative mind****. (And that’s well before Lindsey Buckingham, Christine McVie, and Stevie Nicks get into the pertinent lyrics about infidelity and duplicity.) “My initial inclination when I decided I wanted to set the pilot in the Cold War was to go ’70s, strictly because I loved the hair and the music,” creator Joe Weisberg told The A.V. Club at the end of The Americans’ first season. Certain factors—like the United States’ development of the Strategic Defense Initiative (a.k.a. the “Star Wars” program)—persuaded him to update to the 1980s instead. This leaves Jennings caught uncomfortably between the Carter administration’s peacekeeping efforts and the Reagan administration’s saber-rattling—a pressure not unlike that felt by Fleetwood Mac as it prepared Tusk, an AOR band outmoded (yet pushed forward) by new wavers and punk rockers dreaming up their own destructive equivalents of Star Wars.
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Old 12-03-2013, 04:27 PM
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Quote:
Originally Posted by jbrownsjr View Post
yes, very cool versioin too. Vocals sounded amazing on my HD speakers.
What resolution are your HD speakers? I've been making do with my analog speakers.
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Old 03-12-2015, 01:15 PM
michelej1 michelej1 is offline
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[Excerpt from AV Club review of The Americans]

http://www.avclub.com/tvclub/america...-taffet-216459

Also, the quick developments in the South African plot give this episode such a spectacular coda. I’m going to be thinking about this sequence for a long time: The long stretches of inactivity, the silhouette of Mary Stuart Elizabeth Jennings Masterson in the van window, Philip’s wig again, Fleetwood Mac, Fleetwood Mac, Fleetwood ****ing Mac. Not to go off on a theorizing tangent, but I think “Walter Taffet” is trying to tell us something: If you’re hearing the voices of Lindsey Buckingham, Stevie Nicks, or Christine McVie, the Jennings are about to throw some poor, unsuspecting mope into the trunk of a motor vehicle. The sequence really is the perfect coda, a “play against the odds” job for a “play against the odds” episode.
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  #10  
Old 03-12-2015, 01:32 PM
michelej1 michelej1 is offline
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[Compare FM to the Spies]

‘The Americans’ 3×7 Recap: Fleetwood Mac Attack

What Soviet spies and Seventies supergroups tell us about couplehood

By Sean T Collins | 03/11/15 11:56pm The New York Observer

Fleetwood Mac’s 1977 album Rumours is a crystalline collection of immaculately produced pop-rock that has sold in the neighborhood of 40 million copies. That’s approximately 8 million copies per each of the five members of the band whose romantic partnership ended during the album’s recording. Given that there were only five people in Fleetwood Mac, including a pair of couples, that’s one hellacious track record. Count ‘em: Guitarist Lindsey Buckingham and his longtime partner Stevie Nicks, two of the band’s three main songwriters, broke up acrimoniously. The third songwriter, Christine McVie, left her husband, bassist John McVie — for the group’s lighting director. Finally, drummer Mick Fleetwood got a divorce from his wife Jenny Boyd. (PS: Boyd had conducted a lengthy affair with the band’s ex-guitarist Bob Weston; Fleetwood would go on to have a secret relationship with Nicks, which ended when he broke up the marriage of Nicks’s best friend by having an affair with her. BuzzFeed’s Matthew Perpetua has the best summary of the turmoil if you’re searching for a scorecard.) Lindsay, Stevie, and Christine all chronicled their changing fortunes with savage honesty and/or dizzying romanticism in the songs that formed the album. And in the only instance of the entire group collaborating as songwriters, all five band members co-wrote the record’s centerpiece, classic rock’s most vicious anthem of romantic recrimination: As they all fell apart, “The Chain” quite literally kept them together.

It’s well worth thinking about Fleetwood Mac in the context of The Americans. In a sense, the two are inseparable, and not just because Matthew Rhys is Lindsey Buckingham’s spitting image: The show’s pilot began with an eight-minute espionage sequence set to an extended remix of “Tusk,” Buckingham’s bizarro paean to sexual paranoia. And tonight’s climactic use of “The Chain” will, yes, keep them together as well. But the songs are on the soundtrack for a reason. Long before Mick’s opening stomp emerged from your speakers tonight, this was a show obsessed with the ways in which couples in varying degrees of estrangement could nevertheless come together to achieve something greater than they ever could individually. “Walter Taffet,” this week’s episode, contained enough examples to make the Mac’s Behind the Music blush.

The central couple requiring counseling is, of course, Elizabeth and Philip Jennings. When Philip pitches himself as an American everyman to Stan Beeman over pizza this week, he provides a vanilla suburban summary of the couple’s complaint: When it comes to how to raise their kids as they grow older, “We’re on opposite sides all the time.” Driving them to those separate sides is the Centre, which wants to push Paige Jennings into life as a spy alongside her parents. Elizabeth has responded enthusiastically, hoping a career in the KGB could give her daughter the same sense of purpose it’s given her. Philip, though, has dangerously disavowed the entire project, insisting that Paige be allowed to take advantage of the range of choices available to her in America, choices he and his wife never had. As Elizabeth cites the examples of her old civil-rights contact Gregory and their new South African ally Ruben to shore up her argument that truly fighting for a cause is inherently ennobling, all Philip can think of is his own secret son, serving as a paratrooper in Afghanistan. Would his death at the hands of some American-funded fundamentalist be all that ennobling, really? Throughout the episode, the pair are viewed in or through panes of glass — the windows of their bedroom, the mirror in their bathroom, the windshield of their car — as if the screen they’ve erected around their secret life is finally sealing them in, where no help can reach them to solve their crisis. When at last they reach out to each other, with Elizabeth apologizing for telling Paige about their activist past without speaking to Philip first, and Philip finally revealing the existence of his other son, it’s in bed, in the dark, with no barriers in sight. Is it any surprise, thematically speaking, that they pull off a daring kidnapping in the very next scene?

Other agents of the Jennings’ acquaintance have their own marital woes. Stan’s separation from Sandra is becoming a divorce at last, a prospect he seems not the least bit prepared for. Sure, he was willing to admit it was silly of him to invite her to fly cross-country with him for a fallen agent’s memorial service, but admitting she won’t be doing anything together with him again was a bridge too far. As he tells his awestruck son, Stan is a man who has suffered deeply from the isolation he experienced undercover among murderous white supremacists, and we’ve long witnessed the effects. He is alternately overly attached to or instinctively suspicious of anyone with whom he comes into close professional contact: He fell in love with Nina, the Soviet agent he was working and who worked him in turn; he fears Zinaida, the defector he’s handling, is a double agent; now he’s skeeved out by Agent Aderholt, the go-getter new guy in the department who asks a lot of questions and (coincidence? not coincidence? now I’m getting paranoid) discovers the bug in their boss Agent Gaad’s pen. You can imagine what watching his wife move on with her life while he’s stuck in his own will do to him.

By contrast, Ruben Ncgobo, is still living life on the edge. It’s been years since he’s seen his wife and four sons, whose home in apartheid South Africa he describes with memorable vituperation: “We live like dogs in shacks with nothing.” He worries his kid will grow up into a materialistic boob and get himself killed for it, and believes his whole family is better off fighting for freedom. It’s a far cry from the happy courtship of “Jack” and “Michelle,” Philip and Elizabeth’s aliases while working their Northrop contact Lisa. That relationship plays almost like a parody of all the real ones, each of which is being pulled part by distance divorce or ideological difference.

But it’s Martha and “Clark,” the FBI receptionist her nebbishy horndog husband — Philip’s most frequent secret identity — who are in the deepest trouble. When Aderholt finds the bug, you can feel the bottom drop out of your stomach in synchronization with Martha’s. The scenes that follow are like a comic operetta of tension and terror, as this fundamentally good-natured but doofusy person frantically tries to dismantle and hide her end of the bugging apparatus while in the ladies’ room. (What is it with this season and ladies’ rooms, by the way?) Every second she spends in the FBI office from that point forward, every encounter with every new face, from the bug-sweeper to the owlish internal security expert whose name gives the episode its title, feels like she’s an inch away from the abyss. And every second she spends with Clark that night, acting strangely (demanding to see his apartment, almost immediately asking to return to her own) and secretively (not divulging the discovery of the bug), feels like she’s a second away from pulling the trigger on the relationship. Quite literally: I became so convinced that she’d lured Clark to his bogus bachelor pad in order to kill him with the handgun she retrieved earlier that when he showed back up in the Jennings’s house, I wondered if it was a flashback or dream sequence. But no, apparently catching a glimpse of their copy of the Kama Sutra was enough to keep her from doing anything desperate.

For now, anyway. Sex, kids, a career, a calling, plain inertia: They can all keep a couple chained together, happily or not. It seems likely that The Americans’ ultimate goal is to add pressure to every link until something snaps.



Read more at http://observer.com/2015/03/the-amer...#ixzz3UCIynOzQ
Follow us: @newyorkobserver on Twitter | newyorkobserver on Facebook
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  #11  
Old 03-12-2015, 01:47 PM
michelej1 michelej1 is offline
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Entertainment Weekly

http://community.ew.com/2015/03/12/t...walter-taffet/

When you hear the guitar strings and steady drumbeat of Fleetwood Mac’s “The Chain,” you know something crazy is about go down. +USSR for these 3 minutes and 30 seconds of nail-biting insanity:
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Old 08-06-2015, 12:05 AM
michelej1 michelej1 is offline
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http://www.fredericksburg.com/entert...327d702c9.html

August 6, 2015 BY JONAS BEALS/THE FREE LANCE-STAR

I’m not sure that tears are in my future as I watch “The Americans,” but I already know music will play a key role in the series.

The first episode starts not with anything visual, but with the opening saxophone strains of “Harden My Heart” by Quarterflash. This is another show set in the 1980s, and the soundtrack is straight from that decade. The Quarterflash song sets the scene perfectly, but it also gives subtle clues about what is going on in the first scene, and perhaps the entire show. I don’t know yet. No spoilers.

But there’s another song that gets heavy rotation in that first episode: “Tusk” by Fleetwood Mac. It’s not an obvious choice for a chase scene, but those driving tom-toms turn out to be the perfect way to add energy to a Cold War footrace through the streets of D.C. The lyrics even do a good job of encapsulating the tension and spy-vs.-spy intrigue of the episode.

It’s the sort of smart decision that we can expect from great shows these days —a creative choice that appeals to our ears as much as it does to our eyes.
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Old 08-12-2015, 02:09 AM
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This is a downright brilliant show with a frequently outstanding use of licensed music. It's a shame that the long Tusk remix from the pilot will probably never surface in clean audio because I'd play the heck out of it.

For the action sequence with The Chain, they originally had prepared The Rolling Stones' Slave for it, to complement the main characters taking down pro-apartheid activists. But this show did something special with Fleetwood Mac again. Lindsey's solo kicking in just as the main action started was spot on.
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Old 09-03-2016, 12:40 AM
michelej1 michelej1 is offline
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[I have fallen so deeply in love with this show. It's one of my top 5 favorite shows of all time. On Wednesday night when a new episode is set to air, I can hardly think of anything else]

Vox by Todd VanDerWerff on August 31, 2016,

http://www.vox.com/2016/8/31/1255033...nale-interview

TV: Let me see if I can trick you into revealing something about The Americans’ last two seasons. Have you decided which Fleetwood Mac song you’re going to end with?

JW: What are the big ones that are left?

JF: There's a lot left in that Rumours album. Thanks to the show, I started to listen to that whole album a lot. The kids are a little burned out on Fleetwood Mac.

JW: Maybe we should end with "Tusk." Do we get a 10 percent discount if we use it a second time?
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Old 12-01-2016, 01:59 PM
michelej1 michelej1 is offline
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I thought I'd move my response, here.

Quote:
Originally Posted by jbrownsjr View Post
I don't think he loved Martha. The foundation was always that he was doing his job. The guilt was his own for creating a false relationship and then having her shipped out. I think he thought, "What am I doing in this life?"
He ruined Martha's life and her parents (she was their only child). He felt guilty. Some audience members thought that was love. The Hollywood Reporter pointed out that Elizabeth thought it was love, too. Keri said that Elizabeth's feelings, sparked by jealousy, are not proof of what the truth is.

I wonder how you and I thought differently about the use of Tusk and The Chain in the series as opposed to viewers who were not FM fans. I thought that Tusk worked very well in the pilot, but later when they used The Chain for the sequence where they (with Hans) kidnapped that student I wasn't that impressed. And I think I might have been if The Chain didn't have a completely different meaning for me, due to the band.

I mean, I think the song can be used in the show in an episode where Phillip and (finally) Elizabeth want to get out of the KGB and can't because of their history, because the physical threat they face when they leave (death) and because of Elizabeth's emotional ties to their cause.

I guess I associate a particular feeling with The Chain so that I don't see it as the soundtrack to an espionage action scene.

Michele
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