Technology has a lot to answer for, also.
Enough cheap swipes at aesthetic retardation. P. T. Anderson deftly employs songs like aural production design, matching ARP synths to wallpaper, Ibanez fuzz-wahs to the lightning in convenience stores, and compressed snare thuds to ritzy cowboy boots. He does so often by starting a song in one scene and then allowing it time and space to flow into the next scene. The resultant effect imbues the song with a disturbing ambivalence that simultaneously drains the song of an 'event' status and displaces it into the amorphous backgrounding of the film's psychological ambience. Rowan Woods decision to get The Necks to provide a score for THE BOYS shows that Australians can think beyond Baz Luhrmann excesses, Jenny Kee cockatoos and John Singleton mimicry.