Underground 1 Soundtrack

[Colleen Bramham]

Undergroundis an album by Goran Bregović, with the music from the film with the same title by Emir Kusturica. Several songs from this album, such as "Mesečina" and "Kalašnjikov", became instant-classic tavern and brass-band hits.[2] The Boban Marković Orchestra is heavily featured in the soundtrack.

Among other pieces, "Mesečina" was performed by Keba, Trans-Siberian March Band and The Lemon Bucket Orkestra. Sezen Aksu covered "Kalašnjikov", "Ausncia" and "Mesečina" in Turkish language on her 1997 Bregović-produced album Dğn ve Cenaze, titled "Kalaşnikof", "O Sensin" and "Ayışığı", respectively.

Overall, the 6 Underground soundtrack is full of adrenaline pumpers that drive various chase scenes and pivotal mission moments. As One's squad travels across the world, the collective songs essentially function as mood-setters and narrative exclamation points, with a couple of tracks serving as poignant musical motifs. Here is every song featured in 6 Underground on Netflix.

Netflix's 6 Underground soundtrack kicks off with "Dig Down" as One explains his life story. The track also appears later in the film during One's Parisian sex scene with an Italian woman named Arianna. For a brief moment, "Wannabe" plays during a Florence chase scene that doesn't end particularly well for the titular squad. When the action reaches the Uffizi Gallery, "O Fortuna" represents the beating hearts of the 6 Underground team.

When Four skywalks atop the Duomo in 6 Underground, "Glory" scores the moment of aerial ecstasy. Shortly after, "The Fear" boosts a stylized sequence featuring Two. During the same Florentine chase, "Legend" plays over a scene where Five screams at One. "The Handler" essentially marks the beginning of the main action after the Italian inciting incident.

"Blah Blah Blah" underlines a flashback scene midway through 6 Underground. During a Las Vegas sequence featuring various generals, "Legendary" establishes the mood. "Run" plays over a Hong Kong skywalking scene, and "White Flag" is the official song for a country's revolution. (In a meta moment, One asks his team who picked the track, which can be heard later on during a boat-themed climax.) The closing credits for 6 Underground on Netflix are scored by "Bulletproof."

The 6 Underground music is a varied collection of songs to be sure with some standing out more than others. Of course, determining which song is the best on the soundtrack is purely subjective and fans will have their own opinions. Out of the songs, Spice Girls' "Wannabe" is surely the most well-known and the movie uses the iconic nature of the pop song to comedic effect in its wild action sequence. "Bulletproof" also feels like a perfect song to be playing for closing credits.

I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol.

Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes.

And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript.

And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them.

This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects.

But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic.

Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting.

And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others.

So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year.

There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder.

After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7:

That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision:

The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale:

In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them), and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant.

Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis:

Reed, who was having affairs with both men and women, and was playing rock and roll music, found himself feeling split in two. He was also, by this point, a serious user of heroin. And it was his experiences buying and using the drug that gave him the ideas for some of what would become his best-known songs.

On his trips home, Cale also brought a tape of the new band, now renamed the Velvet Underground, and tried to get some interest from Andrew Loog Oldham, thinking some of the songs might be suitable for Marianne Faithfull:

Indeed it was at one of these performances that the group were filmed for the first time, for a TV piece about underground film. Shortly after that Al Aronowitz, the pop music correspondent for the New York Post, offered to manage the group.

The beatniks also widened her musical interests. Now as well as opera and schlager, she was listening to the modern jazz of Dizzy Gillespie and Bud Powell, and to the chansons of singers like Jacques Brel and Georges Brassens:

In the suite above hers was a jazz band, led by Victor Brox, who I have to mention here attended the same school as I did, though many decades before me, and who died last month. Brox is now most famous for having played the role of Caiaphas on the original concept album version of Jesus Christ Superstar:

At the end of 1964, she moved again, this time to London, because Swinging London was becoming the centre of the new youth culture and she wanted to be a part of it. Unfortunately, at twenty-six she was already past her prime as a model, and she was also no longer the fashionable type of figure.

She was, though, still a good-looking woman, and she got herself introduced to Andrew Oldham, who she had heard was looking for another female star to go with Marianne Faithfull, who he was managing. Oldham was interested, especially after she told him about being in La Dolce Vita and having Dylan write a song for her, but he took a while to decide on what to do with her.

In the meantime, she started dating Brian Jones, in what turned into an on-again, off-again relationship for the next couple of years. At first, it was very much on, and she travelled with the Stones to France, where she met Andy Warhol for the first time, and to America on their 1965 US tour.

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