Outsider - Netflix

Not every film is a big-budget blockbuster from an Oscar-winning director. Many movies are made by little-known filmmakers -- Hollywood outsiders, if you will -- and can fly under the radar of the mainstream media because of the lack of notable names behind them. This series puts some of those forgotten movies under the spotlight. Hosts Evan Husney and Zack Carlson chat with underground filmmakers who have put everything they have into their work only to come up with what some might consider questionable results and movies that aren't of the best quality. The featured movies include martial arts flick "Miami Connection" and mutated-bird thriller "Birdemic: Shock and Terror".

Outsider - Netflix

Type: Documentary

Languages: English

Status: Running

Runtime: 30 minutes

Premier: None

Outsider - Outsider music - Netflix

Outsider music is music created by self-taught or naïve musicians. They usually exist outside of the music establishment and oftentimes suffer from mental illnesses or intellectual disabilities. The term was adapted from “outsider art” and was popularized by journalist Irwin Chusid in the 1990s. Outsider musicians tend to overlap with “lo-fi” artists since their work is rarely captured in professional recording studios. Some of the best-known examples are Daniel Johnston, Wesley Willis, and Jandek, who each had documentary films produced about them in the mid 2000s.

Outsider - Cultural resonance and influence - Netflix

Chusid credited outsider musicians for the existence of dub reggae ("invented by an outsider, Lee “Scratch” Perry"), the K Records and Sub Pop record labels, and the “punk/new-wave/no-wave upheaval that undermined prog-rock and airbrush-pop in the mid- to late-1970s [and] hyped itself with the defiant notion that anyone―regardless of technical proficiency or lack thereof―could make music as long as it represented genuine, naturalistic self-expression.” Specific acts that “significantly contributed―directly and indirectly―to contemporary popular music” include Syd Barrett, Captain Beefheart, the Shaggs, Harry Partch, Robert Graettinger, and Daniel Johnston. Conversely, the book Faking It: The Quest for Authenticity in Popular Music (2007) argues that “few of the outsiders praised by their fans can be called innovators; most of them are simply naïve.” Skip Spence's Oar (1969), Beefheart's Trout Mask Replica (produced by Frank Zappa, 1969), and Barrett's The Madcap Laughs (1970), according to music historian John Encarnacao, “were particularly important in helping to define a framework through which outsider recordings are understood ... [They] seeded many ideas and practices, affirming them as desirable in the context of rock mythology.”

The Shaggs were notable for their 1969 album Philosophy of the World, which received prominent national coverage after being reissued in 1980. It was referred to as “the worst rock album ever made” by the New York Times and later championed in published lists such as “the 100 most influential alternative albums of all time”, “the greatest garage recordings of the 20th century”, and “the fifty most significant indie records”. Frank Zappa famously praised the band as better than the Beatles. Previously, he co-founded a label, Bizarre Records, that was dedicated to “musical and sociological material that the important record companies would probably not allow you to hear,” and approached the production of Trout Mask Replica like an anthropological field recording. Beefheart was not on the Bizarre label, but Larry “Wild Man” Fischer was. Fischer was a street performer discovered by Zappa and is sometimes regarded as “the grandfather of outsider music”. In the liner notes of the 1968 album An Evening with Wild Man Fischer, Zappa writes: “Please listen to this album several times before you decide whether or not you like it or what Wild Man Fischer is all about. He has something to say to you, even though you might not want to hear it.” According to musicologist Adam Harper, the writing “[prefigures similar] commentary on the also mentally ill Daniel Johnston.” Outsider musicians tend to overlap with “lo-fi” artists since their work is rarely captured in professional studios. Harper credits the discourse surrounding Daniel Johnston and Jandek with “form[ing] a bridge between 1980s primitivism and the lo-fi indie rock of the 1990s. ... both musicians introduced the notion that lo-fi was not just acceptable but the special context of some extraordinary and brilliant musicians.” Critics frequently write about Johnston's “pure and childlike soul” and describe him as the “Brian Wilson” of lo-fi. R. Stevie Moore, who pioneered lo-fi, was affiliated with Irwin Chusid as well as being associated with the “outsider” tag. He recalled “always ha[ving] the dilemma that [Irwin] did not want to present me as an outsider, like a Wesley Willis or a Daniel Johnston, or these people that are touched in the head and have a certain gift. I love outsider music ... but they have no concept as to how to write or arrange a Brian Wilson song.” (Moore's father, Bob Moore, was a consummate musical insider, having worked as a session musician with the Nashville A-Team.)

Outsider - References - Netflix