Meet Me in the Bathroom
Meet Me in the Bathroom
Documentary , Music , History
2022-11-04
108
Released
An immersive journey through the New York music scene of the early 2000s.
$315239
Overview
Set against the backdrop of 9/11, this documentary tells the story of how a new generation kickstarted a musical rebirth for New York City that reverberated around the world.
CastView All Credits
Adam Green
Self - The Moldy Peaches
Kimya Dawson
Self - The Moldy Peaches
Karen O
Self - Yeah Yeah Yeahs
Julian Casablan
Self - The Strokes (archive audio)
Albert Hammond
Self - The Strokes (archive audio)Nick Zinner
Self - Yeah Yeah YeahsVideos
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Movie Reviews
Patrick Martin Jr.
Another good doc about a place in time (Y2K/9-11) and the people who created art our to pain and desire. Lots of good archival footage and some driving interviews that make you want to go out and start a band too. Best line I’ve ever heard about how to relate tp parents disappointment about wanting to be a musician: “my parents were immigrants and you tell them you want to be in a band, I may as well have told them thanks for all that but I wanna go put on some clown shoes”. Simply awesome.
CinemaSerf
Not that it's exactly comparable, but I grew up very much amidst a folk music scene with loads of extremely mediocre working-class musicians - ballad singers, guitarists, fiddlers etc., who all thought they would go on to some sort of musical greatness. Watching this, it's good to know that those ridiculous pipe dreams were not just confined to Glasgow in the 1970s. Spool on to the early naughties and we are presented with a collection of "musicians" living in Yew York City with aspirations that in the vast majority of cases way outstripped their talents. The one exceptions is probably Julian Casablancas, who managed with "The Strokes" to get his head above the parapet of bland noisemaking, and here the documentary is quite potent at illustrating that the stresses of achieving and building on success are actually just as tough as those involved in getting noticed in the first place. On a more generic level, it does point out how tough this industry is, how hard people work to achieve little better than a subsistence existence and at just how transitory and fickle it all can be, but I did tire a little of the also-rans who whined on about sexploitation and objectification as if they'd had been living under a rock for most of their lives. They dreamt of success and acknowledgement in an industry that was/is riddled with sexualisation and somehow it came as a shock to them - pissed and stoned as they invariably were. Real talent is the best fast-track to initiate meaningful and lasting change. It's an interesting fly-on-the-wall style of production with loads of archive, busily edited to leave us with an authentic-looking view on the lives of these people, but I felt most of them really had no idea what they were doing and the fact that 9/11 occurred midway through the chronology of the narrative seemed merely designed to attempt to bedrock this otherwise flighty and shallow assessment of a music industry that took me back to those nights in the pub, with the folk singers who sounded great after eight pints, but who had no shelf-life beyond that!
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