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So Wrong They’re Right
Other Cinema
By Mike Mess
So Wrong They’re Right follows a cross-country trek by the
editor of 8-Track Mind, Russ Forster, to document different peoples’
passion toward the doomed format. While the people he comes across
are certainly characters and interesting, there’s no real
focus to the journey except to point out that there are still people
who care about 8-tracks. Most of the people he interviews are 1970’s
obsessed self-proclaimed “stubborn visionaries” who
focus seems to be on the 8-track although some arguments are sprinkled
throughout the movie explaining the allure of the format.
Most of the serious dialogue focusing on the format takes place
near the beginning in Russ’ home of Chicago. The so-called
“cartridge family” relates stories concerning their
experiences with 8-tracks. It’s here we have our first Lou
Reed story as he seems to be a favorite among the connoisseurs;
maybe because he’s the “coolest” modern artist
to make records during this period. The people here seem to be the
most sane of the bunch concerned more with sound than individuality
and hipness.
From Chicago he heads to Seattle, Portland, S.F., and San Diego
where the viewer is introduced to a number of 70’s obsessed
people including an Eric Estrada worshiper and the president of
the Tiny Tim Fan Club. In Dallas we are introduced to a number of
failed formats including the tapette and the 2-track. We’re
treated to a quirky 8-track delivery man short-film from New Orleans
and go on to hit the back woods of the Carolinas. In New York we
meet Abigail Levine: the queen of the 8-track. She attempts to contact
the Lear Jet Corporation to find out more about the 8-track patent,
but only succeeds in speaking with an inept receptionist in what
ends up sounding more like prank phone call than anything else.
While certainly dragging up some characters to sing the praises
of the 8-track this film doesn’t really explain their love
and give enough background to create a strong enough argument for
the format in my opinion. There are some mentions of how the tape
changes every time you play it and how it warbles, but most of the
people presented are just obsessed with 1970’s popular culture.
While I won’t condemn the 1970’s culture, I believe
a stronger discussion could have been presented. I think there was
enough comedic moments to warrant some recommendation at least for
watching it on a lazy week night.
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