The Indigo Girls make a far more intriguing subject for a music doc than most who’ve gotten the treatment in recent years, and director Alexandria Bombach doesn’t blow that promise with “It’s Only Life After All,” which got an day-one premiere slot at the 2023 Sundance Film Festival. The film celebrates Amy Ray’s and Emily Saliers’ status as among the first figures in the rock world to come out while enjoying gold and platinum success, as the duo did in their initial late ’80s and ’90s heyday. But beyond exploring what the pair meant to millions of fans who found succor in their records and success during leaner days for musical role models, Bombach’s movie finds its real flavor in exploring the differences in the duo’s two very distinct personalities, which up till now might have seemed like a fuzzy, singular unit by all but the most hardcore fans.
- 1/20/2023
- by Chris Willman
- Variety Film + TV
“It’s Only Life After All,” a documentary about the folk-rock duo Indigo Girls, is for fans only. For those who are not fans, and for those who only dimly remember their initial albums in the late 1980s and early 1990s, this Sundance Film Festival Opening Night entry is a rambling, unrevealing look at their lives and careers that director Alexandria Bombach allows to run over two hours without focusing her material.
Amy Ray and Emily Saliers met in grammar school, and Saliers was one grade ahead of Ray. During the extensive interviews with them in this movie, a hazy picture emerges of Ray as the driving force of their act, or the one with the most ambition, and Saliers as the more elusive or distant of the two. They came up the hard way through gigs in bars and clubs, and their breakout hit was the song “Closer to...
Amy Ray and Emily Saliers met in grammar school, and Saliers was one grade ahead of Ray. During the extensive interviews with them in this movie, a hazy picture emerges of Ray as the driving force of their act, or the one with the most ambition, and Saliers as the more elusive or distant of the two. They came up the hard way through gigs in bars and clubs, and their breakout hit was the song “Closer to...
- 1/20/2023
- by Dan Callahan
- The Wrap
There’s a common refrain uttered wistfully by fans of Indigo Girls, the iconic folk rock duo that did more for lesbian visibility than anyone who came after: “Indigo Girls saved my life.” That’s not only true for queer people of a certain age, but any sensitive soul who has felt held by the tight harmonies, beautiful melodies, and poetic storytelling lyrics that came to define the Indigo Girls sound.
Taking one such lyric for its title, “It’s Only Life After All” is a sweeping and sincere documentary that tells the story of how Indigo Girls Amy Ray and Emily Saliers met, made music, and pushed and inspired each other to reach their unlikely and enduring success. Brimming with previously unseen footage and refreshingly frank interviews with the artists, it’s
So the film could be a little tighter — that’s only a reflection of how overdo the Indigo Girls’ flowers are.
Taking one such lyric for its title, “It’s Only Life After All” is a sweeping and sincere documentary that tells the story of how Indigo Girls Amy Ray and Emily Saliers met, made music, and pushed and inspired each other to reach their unlikely and enduring success. Brimming with previously unseen footage and refreshingly frank interviews with the artists, it’s
So the film could be a little tighter — that’s only a reflection of how overdo the Indigo Girls’ flowers are.
- 1/20/2023
- by Jude Dry
- Indiewire
Taylor Swift surprised her fans and the music industry with her surprise 2020 album “Folklore.” But just as she was basking in the plaudits for that acclaimed release, she released another surprise album in the same creative vein, “Evermore.” So how does this new collection of songs compare to its big sister? The reviews are in, and it’s about a draw.
SEETaylor Swift (‘Willow’): What do you think of the lead single from her Second surprise album of 2020?
As of this writing “Evermore” has a MetaCritic score of 85 based on 25 reviews. That’s a little lower than “Folklore,” which scored 88 based on 27 reviews. But when the margin is that small it’s just splitting hairs. The fact that Swift could creatively change course into a folksier, more alternative direction and get the best reviews of her career, and then come out with another hour’s worth of songs five...
SEETaylor Swift (‘Willow’): What do you think of the lead single from her Second surprise album of 2020?
As of this writing “Evermore” has a MetaCritic score of 85 based on 25 reviews. That’s a little lower than “Folklore,” which scored 88 based on 27 reviews. But when the margin is that small it’s just splitting hairs. The fact that Swift could creatively change course into a folksier, more alternative direction and get the best reviews of her career, and then come out with another hour’s worth of songs five...
- 12/18/2020
- by Daniel Montgomery
- Gold Derby
Breakup songs and albums are big business (just ask Taylor Swift and Adele), and Sam Smith entered the arena on October 30 with the release of “Love Goes,” which was delayed and re-titled due to the Covid-19 pandemic (it was previously intended to be released as “To Die For”). Melancholy ballads aren’t new for Smith; they won a few Grammys for “Stay with Me,” after all. But how does this personal collection of heartbreak songs, reportedly inspired by their split from actor Brandon Flynn, compare to their past work?
SEEFirst-ever Gold Derby Music Awards: Vote for the 2021 Gdma nominations now!
As of this writing “Love Goes” has a MetaCritic score of 65 based on 11 reviews counted thus far: four positive and seven somewhat mixed, but none outright negative. Reviewers call the album “sweeping and luxurious” and especially admire its “wounded, swooning” ballads, but even the more uptempo selections showcase the singer’s “open-vein vulnerability.
SEEFirst-ever Gold Derby Music Awards: Vote for the 2021 Gdma nominations now!
As of this writing “Love Goes” has a MetaCritic score of 65 based on 11 reviews counted thus far: four positive and seven somewhat mixed, but none outright negative. Reviewers call the album “sweeping and luxurious” and especially admire its “wounded, swooning” ballads, but even the more uptempo selections showcase the singer’s “open-vein vulnerability.
- 11/8/2020
- by Daniel Montgomery
- Gold Derby
Fans have had to wait a while for Alicia Keys‘s seventh studio album, “Alicia.” Her previous album, “Here,” was released four years ago in 2016, and she had originally intended to drop this collection earlier in 2020. But due to the Covid-19 pandemic she pushed it back from March to May until finally it became available to listeners on September 18. So what do critics think of it?
SEE2021 Grammy predictions: Album of the Year
As of this writing “Alicia” has a MetaCritic score of 77 based on 11 reviews counted thus far: nine positive and two somewhat mixed, but none outright negative. That’s one point higher than “Here,” and it’s actually her best MetaCritic score since her debut album “Songs in A Minor” back in 2001.
Keys is being praised for her “remarkable gift for classic soul-indebted melody,” to which she adds “more eclectic sounds than she’s tried before.” She’s “welcoming,...
SEE2021 Grammy predictions: Album of the Year
As of this writing “Alicia” has a MetaCritic score of 77 based on 11 reviews counted thus far: nine positive and two somewhat mixed, but none outright negative. That’s one point higher than “Here,” and it’s actually her best MetaCritic score since her debut album “Songs in A Minor” back in 2001.
Keys is being praised for her “remarkable gift for classic soul-indebted melody,” to which she adds “more eclectic sounds than she’s tried before.” She’s “welcoming,...
- 10/2/2020
- by Daniel Montgomery
- Gold Derby
Bruce Springsteen released his 19th studio album, “Western Stars,” on June 14. It’s his first studio album since 2014’s “High Hopes,” and his first album of entirely new material since 2012’s “Wrecking Ball.” It’s a change-of-pace concept album for the legendary rocker, who uses the collection to tell stories about characters called to the California frontier. So what do critics think of Springsteen’s new sound at age 69?
They seem to like it quite a lot. As of this writing “Western Stars” has a MetaCritic score of 86 based on 18 reviews counted — all of them positive, including a couple perfect 100s. It is being described as a “late-period masterpiece.” The singer-songwriter feels “rejuvenated” by his trip out West with “irresistible” sounds of “lushly orchestrated throwback, country-tinged folk pop.”
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“Western Stars” comes off a strong couple of years for Springsteen, who...
They seem to like it quite a lot. As of this writing “Western Stars” has a MetaCritic score of 86 based on 18 reviews counted — all of them positive, including a couple perfect 100s. It is being described as a “late-period masterpiece.” The singer-songwriter feels “rejuvenated” by his trip out West with “irresistible” sounds of “lushly orchestrated throwback, country-tinged folk pop.”
Sign UPfor Gold Derby’s free newsletter with latest predictions
“Western Stars” comes off a strong couple of years for Springsteen, who...
- 6/14/2019
- by Daniel Montgomery
- Gold Derby
Kanye West‘s seven-track album “Ye” was released on Friday, allowing plenty of critical reviews and public opinions to roll in over the weekend.
West’s eighth studio album, following 2016’s “Life Of Pablo,” chronicles the rapper’s public breakdown and recent months of controversial comments, including speaking in support of President Donald Trump and declaring that slavery was a choice. To the surprise of some, though, the album doesn’t tackle many of the subjects that West has been vocal about on Twitter, instead focusing more on his personal life.
In his review for Variety, Andrew Barker questions how his public persona lines up with his music, saying, “At best, his unvarnished loutishness just seemed like another facet of his messy humanity; at worst, he was a constant screw-up with a knack for extravagant make-up gifts. But after his alienating support of Donald Trump and stunningly asinine recent musings on slavery,...
West’s eighth studio album, following 2016’s “Life Of Pablo,” chronicles the rapper’s public breakdown and recent months of controversial comments, including speaking in support of President Donald Trump and declaring that slavery was a choice. To the surprise of some, though, the album doesn’t tackle many of the subjects that West has been vocal about on Twitter, instead focusing more on his personal life.
In his review for Variety, Andrew Barker questions how his public persona lines up with his music, saying, “At best, his unvarnished loutishness just seemed like another facet of his messy humanity; at worst, he was a constant screw-up with a knack for extravagant make-up gifts. But after his alienating support of Donald Trump and stunningly asinine recent musings on slavery,...
- 6/4/2018
- by Kirsten Chuba
- Variety Film + TV
Jaws dropped as Beyoncé debuted her visual album Lemonade on HBO, and not just because it's brand-new music by Beyoncé. Many viewers soon took to Twitter to express their shock at the massive amount of lyrics referencing marital problems and a cheating lover. Beyoncé and husband Jay Z, who appears in a movie clip after forgiveness, have never addressed such rumors. The shocking apparent theme of the album, which was released on Tidal after the HBO airing, did not go unnoticed by music critics. "Marital strife smolders, explodes and uneasily subsides on Lemonade," The New York Times' Jon Pareles wrote. "You can taste the dishonesty /...
- 4/24/2016
- E! Online
This story first appeared in the April 22 issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe. Neil Strauss' life resembles a peculiar three-act play. And like any good piece of theater, it took off in New York City. During the early 1990s, fresh out of Columbia with a psychology degree, Strauss became a culture reporter and music critic for The Village Voice. His witty and incisive reviews attracted the attention of The New York Times chief music critic Jon Pareles, who brought him over to the Gray Lady. Strauss soon was anchoring "The
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- 4/11/2016
- by Scott Johnson
- The Hollywood Reporter - Movie News
1. It's always hard to write on deadline, of course, and it's possible that, if the New York Times didn't have a Bowie obituary ready, poor Jon Pareles was up all night writing one. But one of his editors should have made sure that the words gay or bisexual appeared in the piece that resulted. I'm sure David Bowie wasn't the first gay rocker, but he was the first male star to be open and matter-of-fact about the idea of sleeping with other men. He eventually got married, of course, to the formidable Angela Bowie, née Barnett*, but this part of his persona undoubtedly limited his appeal. One of the dirty little secrets of the 1960s was that sexism and homophobia were prevalent. Bowie forced the rock world to confront this part of the audience's life. It was not only brave, but done in such a matter-of-fact way that it carried...
- 1/11/2016
- by Bill Wyman
- Vulture
"David Bowie, the infinitely changeable, fiercely forward-looking songwriter who taught generations of musicians about the power of drama, images and personae, died Sunday, two days after his 69th birthday," reports Jon Pareles for the New York Times. "Bowie never stopped innovating," write Steve Appleford and Matt Hamilton in the Los Angeles Times. "In 1976, he performed his first major role as an actor, as the alien visitor in Nicolas Roeg's The Man Who Fell to Earth." We're collecting remembrances of his performances in Nagisa Oshima's Merry Christmas, Mr. Lawrence, Christopher Nolan's The Prestige—and further tributes. » - David Hudson...
- 1/11/2016
- Keyframe
"David Bowie, the infinitely changeable, fiercely forward-looking songwriter who taught generations of musicians about the power of drama, images and personae, died Sunday, two days after his 69th birthday," reports Jon Pareles for the New York Times. "Bowie never stopped innovating," write Steve Appleford and Matt Hamilton in the Los Angeles Times. "In 1976, he performed his first major role as an actor, as the alien visitor in Nicolas Roeg's The Man Who Fell to Earth." We're collecting remembrances of his performances in Nagisa Oshima's Merry Christmas, Mr. Lawrence, Christopher Nolan's The Prestige—and further tributes. » - David Hudson...
- 1/11/2016
- Fandor: Keyframe
Ever since Lady Gaga announced that she would be playing a South by Southwest gig at outdoor amphitheater Stubbs, sponsored by Doritos, I’ve had a bad taste in my mouth. Doritos usually leave a yummy, albeit slightly burning, corrosive taste in my mouth, but this time it feels like I’m being force fed a whole bag. Lady Gaga was already in bed with Doritos for SXSW before she announced the Stubbs show last week: the original plan was for Momma Monster to play a free outdoor show on the street by the 64-foot Doritos vending machine. SXSW’s streets are clogged enough as it is, so the city of Austin smartly denied a permit for that plan (and given the horror that occurred at SXSW last night when a drunk driver crashed a barricade, the city’s decision seems even more advisable). So, instead, Lady Gaga will play a show at Stubbs tonight,...
- 3/13/2014
- Hitfix
It’s not surprising that one of the best musically inclined docs of 2013 was pieced together by director Morgan Neville, a filmmaker who over the years has cinematically profiled the likes of Muddy Waters, Hank Williams, Brian Wilson, Ray Charles and so many others. Neville’s latest shows his vast knowledge of rock and roll mythology while highlighting his apt for storytelling economy, digging deep and moving nimbly between subjects yet rarely just glancing an anecdote. This time he’s chosen to unearth those overlooked by history, those whose voices enriched so many classic recordings with layers of youthful soul, yet went unheralded as solo artists, those who will be remembered for living just 20 Feet From Stardom. With expeditious style and an ear for the best mix of relevant tunes, Neville nods to the all important back up singers.
You may not know them by name, but you certainly know their voices.
You may not know them by name, but you certainly know their voices.
- 2/11/2014
- by Jordan M. Smith
- IONCINEMA.com
“Music Popcast” is available for free listening on FilmOn! The podcast, created by the New York Times, is an in-depth discussion about the latest in pop music. Here’s more of what you can expect from Music Popcast: “New York Times music critics Jon Pareles, Ben Ratliff, Jon Caramanica and Nate Chinen talk each week about the latest pop music news, the top songs, the best albums, the biggest stars — and the up and coming stars you haven’t heard of yet.” Music buffs will surely be able to learn something from “Music Popcast,”as well as gain exposure to artists that you’ll want to have on your playlist. If you want [ Read More ]
The post Listen to Music Popcast for Free on FilmOn appeared first on Shockya.com.
The post Listen to Music Popcast for Free on FilmOn appeared first on Shockya.com.
- 10/30/2013
- by monique
- ShockYa
Trent Reznor sounds very Trent Reznor in the latest profile of him and his band Nine Inch Nails. The New York Times features some in-depth talk about the group's festival outing, their tour plans, their recording process for "Hesitation Marks" and some personal details on 48-year-old Reznor's mid-life. Here are 10 things that stood out to us in the reading of the article, penned by the excellent Jon Pareles. Follow me down the spiral... 1. For the band's 14 festival dates (including Made In America, Lollapalooza and Outside Lands), there will be "a few new songs" from "Hesitation Marks" to be...
- 7/25/2013
- Hitfix
For more than a decade, the annual Latin Alternative Music Conference (Lamc) has brought together the musical innovators and genre-benders at the forefront of a musical movement known simply as Latin alternative. It is a catch-all term, not a genre in itself. Some sing indie pop in Spanish while others take Latin beats like cumbia, regional Mexican music, or salsa and remix them with hip-hop, punk, electronica and everything in between.
The conference, organized by Los Angeles-based Nacional Records, took over NYC this past week and was a sweaty, sweltering marathon of acoustic showcases, electro-cumbia light shows, rainy SummerStage performances, and out-of-control dance parties. The long standing conference is a testament to the vitality of the Latino independent music scene.
Although the mainstream is still catching up to this “new” musical movement, Latino filmmakers have already tapped into this vast musical resource. Aurora Guerrero, director of Mosquita y Mari, told LatinoBuzz in a previous interview that, “I’m constantly on SoundCloud or Remezcla looking to see what new music is being produced by Latino artists. I’m not interested in producing soundtracks or scores that have been recycled in U.S. Latino films throughout the years. I’m looking for music that’s cutting-edge and contemporary.” Her film, a thoughtful portrait of two teenage Chicanas living in Los Angeles, is set to the music of local ska bands, the melancholy vocals of Carla Morrison, and other genre-remixing Latino artists.
The marriage of Latino independent music with Latino independent film seems natural. Both try to “hop borders” as Jon Pareles wrote in the New York Times and exist out of a desire to reach beyond the cultural boundaries in which they currently reside. It’s also a mutually beneficial relationship. Filmmakers deal with lower fees versus trying to license more commercial music while providing much-needed exposure to up-and-coming bands.
By happenstance Latinbeat, the Film Society of Lincoln Center’s week-long showcase of Latin American independent films, overlapped with Lamc over the weekend. It was a Lindie (a.k.a. Latino indie) takeover.
Latinbeat runs through Sunday, July 21 and there is still a ton to see. Here are the highlights.
Viola
Matías Piñeiro | 2012 | 65 mins
Wednesday, July 17 and Thursday, July 18 at 11:15am 1:45pm 4:15pm 6:45pm 9:30pm
A web of romantic intrigue and revelation is delicately unraveled in this dazzling riff on Shakespeare’s Twelfth Night. Screening with Rosalinda (Matías Piñeiro, 2010, 43m).
Tanta Agua (So Much Water)
Ana Guevara | Leticia Jorge | 2013 | 100 mins
Filmmakers in person for Q&A. Thursday, July 18 at 8:30pm | Saturday, July 20 at 2:30pm
A divorced father’s vacation with his two children is marred by a storm that keep the three cooped up together as he desperately tries to remain enthusiastic and not let anything ruin their plans.
The Tears
Pablo Delgado Sanchez | 2012 | 66 mins
Filmmaker in person for Q&A. Thursday, July 18 at 6:30pm | Saturday, July 20 at 5:00pm
A camping trip in the woods becomes a painful but ultimately healing rite of passage for two brothers who are struggling to cope with their disturbing family environment in Sanchez’s taut, suspenseful debut feature.
Bring Me the Head of the Machine Gun Woman
Ernesto Díaz Espinoza | 2013 | 75 mins
Filmmaker in person for Q&A. Saturday, July 20 at 9:30pm | Sunday, July 21 at 8:30pm
This exuberant tribute to Peckinpah’s similarly titled 1974 film combines the plot of a Western with a video game aesthetic and structure in the story of a nerdy DJ who must undertake an action-packed mission to save his own life.
Magical Words (Breaking a Spell)
Mercedes Moncada | 2012 | 83 mins
Filmmaker in person for Q&A. Friday, July 19 at 6:30pm | Sunday, July 21 at 1:30pm
Moncada crafts a poignant and engaging personal perspective on her native Nicaragua from the 1979 Sandinista revolution through to modern times, weaving herself into the story at every historic step.
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
The conference, organized by Los Angeles-based Nacional Records, took over NYC this past week and was a sweaty, sweltering marathon of acoustic showcases, electro-cumbia light shows, rainy SummerStage performances, and out-of-control dance parties. The long standing conference is a testament to the vitality of the Latino independent music scene.
Although the mainstream is still catching up to this “new” musical movement, Latino filmmakers have already tapped into this vast musical resource. Aurora Guerrero, director of Mosquita y Mari, told LatinoBuzz in a previous interview that, “I’m constantly on SoundCloud or Remezcla looking to see what new music is being produced by Latino artists. I’m not interested in producing soundtracks or scores that have been recycled in U.S. Latino films throughout the years. I’m looking for music that’s cutting-edge and contemporary.” Her film, a thoughtful portrait of two teenage Chicanas living in Los Angeles, is set to the music of local ska bands, the melancholy vocals of Carla Morrison, and other genre-remixing Latino artists.
The marriage of Latino independent music with Latino independent film seems natural. Both try to “hop borders” as Jon Pareles wrote in the New York Times and exist out of a desire to reach beyond the cultural boundaries in which they currently reside. It’s also a mutually beneficial relationship. Filmmakers deal with lower fees versus trying to license more commercial music while providing much-needed exposure to up-and-coming bands.
By happenstance Latinbeat, the Film Society of Lincoln Center’s week-long showcase of Latin American independent films, overlapped with Lamc over the weekend. It was a Lindie (a.k.a. Latino indie) takeover.
Latinbeat runs through Sunday, July 21 and there is still a ton to see. Here are the highlights.
Viola
Matías Piñeiro | 2012 | 65 mins
Wednesday, July 17 and Thursday, July 18 at 11:15am 1:45pm 4:15pm 6:45pm 9:30pm
A web of romantic intrigue and revelation is delicately unraveled in this dazzling riff on Shakespeare’s Twelfth Night. Screening with Rosalinda (Matías Piñeiro, 2010, 43m).
Tanta Agua (So Much Water)
Ana Guevara | Leticia Jorge | 2013 | 100 mins
Filmmakers in person for Q&A. Thursday, July 18 at 8:30pm | Saturday, July 20 at 2:30pm
A divorced father’s vacation with his two children is marred by a storm that keep the three cooped up together as he desperately tries to remain enthusiastic and not let anything ruin their plans.
The Tears
Pablo Delgado Sanchez | 2012 | 66 mins
Filmmaker in person for Q&A. Thursday, July 18 at 6:30pm | Saturday, July 20 at 5:00pm
A camping trip in the woods becomes a painful but ultimately healing rite of passage for two brothers who are struggling to cope with their disturbing family environment in Sanchez’s taut, suspenseful debut feature.
Bring Me the Head of the Machine Gun Woman
Ernesto Díaz Espinoza | 2013 | 75 mins
Filmmaker in person for Q&A. Saturday, July 20 at 9:30pm | Sunday, July 21 at 8:30pm
This exuberant tribute to Peckinpah’s similarly titled 1974 film combines the plot of a Western with a video game aesthetic and structure in the story of a nerdy DJ who must undertake an action-packed mission to save his own life.
Magical Words (Breaking a Spell)
Mercedes Moncada | 2012 | 83 mins
Filmmaker in person for Q&A. Friday, July 19 at 6:30pm | Sunday, July 21 at 1:30pm
Moncada crafts a poignant and engaging personal perspective on her native Nicaragua from the 1979 Sandinista revolution through to modern times, weaving herself into the story at every historic step.
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
- 7/17/2013
- by Vanessa Erazo
- Sydney's Buzz
Bob Dylan's 35th studio album, "Tempest," drops Tuesday (Sept. 11), and at 71, Dylan's still got it -- at least according to many of the record's early reviewers.
"Lyrically, Dylan is at the top of his game," writes Rolling Stone's Will Hermes, giving the album five out of five stars. "Joking around, dropping wordplay and allegories that evade pat readings and quoting other folks' words like a freestyle rapper on fire."
USA Today's Edna Gundersen gives "Tempest" four out of four stars, calling it "violent," "steeped in tradition and bent toward blues."
"Whereas his latter-day records bore simple, direct lyrics, here Dylan enthusiastically dances with language in sharp, colorful couplets that flesh out each song with ominous observations and ribald riffs," Gundersen writes.
The New York Times Jon Pareles writes, "He sings forcefully, in a raspy, phlegmy bark that's not exactly melodic and by no means welcoming. Battered and unforgiving, he's still Bob Dylan,...
"Lyrically, Dylan is at the top of his game," writes Rolling Stone's Will Hermes, giving the album five out of five stars. "Joking around, dropping wordplay and allegories that evade pat readings and quoting other folks' words like a freestyle rapper on fire."
USA Today's Edna Gundersen gives "Tempest" four out of four stars, calling it "violent," "steeped in tradition and bent toward blues."
"Whereas his latter-day records bore simple, direct lyrics, here Dylan enthusiastically dances with language in sharp, colorful couplets that flesh out each song with ominous observations and ribald riffs," Gundersen writes.
The New York Times Jon Pareles writes, "He sings forcefully, in a raspy, phlegmy bark that's not exactly melodic and by no means welcoming. Battered and unforgiving, he's still Bob Dylan,...
- 9/11/2012
- by editorial@zap2it.com
- Pop2it
Who's responsible for turning Cbgb's into the petri dish that unleashed punk rock onto the world?
It's long been known that the idea didn't originate with the club's owner, Hilly Kristal, who died in 2007, a year after the famously dingy venue closed its doors. He named the club Cbgb-Omfug, short for Country, Bluegrass, Blues and Other Music For Uplifting Gourmandizers, and expected to feature those genres, not the noisy creations of a bunch of arty freaks.
A recent e-book by longtime tour manager Larry Butler gives Television singer and guitarist Tom Verlaine credit for making Cbgb's cool. Here's how music-industry veteran Bob Lefsetz paraphrased Butler's account yesterday in his popular newsletter, the Lefsetz Letter:
Hilly Kristal was an unwitting beneficiary of Tom Verlaine's inability to find anywhere to feature Television. Yup, Verlaine asked Hilly to play at Cbgb, a relatively dead bar, on a dead night,...
It's long been known that the idea didn't originate with the club's owner, Hilly Kristal, who died in 2007, a year after the famously dingy venue closed its doors. He named the club Cbgb-Omfug, short for Country, Bluegrass, Blues and Other Music For Uplifting Gourmandizers, and expected to feature those genres, not the noisy creations of a bunch of arty freaks.
A recent e-book by longtime tour manager Larry Butler gives Television singer and guitarist Tom Verlaine credit for making Cbgb's cool. Here's how music-industry veteran Bob Lefsetz paraphrased Butler's account yesterday in his popular newsletter, the Lefsetz Letter:
Hilly Kristal was an unwitting beneficiary of Tom Verlaine's inability to find anywhere to feature Television. Yup, Verlaine asked Hilly to play at Cbgb, a relatively dead bar, on a dead night,...
- 7/16/2012
- by The Huffington Post
- Huffington Post
By Rya Backer
It's my first time at Bonnaroo, and so far, I wouldn't change anything for the world. I've been hit in the head twice (once by a Frisbee, the other time by a young man on a lot of drugs in a banana costume); I haven't eaten a vegetable since we flew to Nashville on Wednesday afternoon; I saw Jon Pareles and Bill Murray enjoying Radiohead’s set; and I've seen more regrettable tattoos in just these three days than I've seen in my entire life (special shout-out to the black bear on the California state flag whose claws morph into tree roots). But the best experience at this Bonnaroo so far has been seeing - in my opinion - the best live band right now, Battles.
One of the most exciting parts about even making it to the tent that Battles played, was passing by other stages.
It's my first time at Bonnaroo, and so far, I wouldn't change anything for the world. I've been hit in the head twice (once by a Frisbee, the other time by a young man on a lot of drugs in a banana costume); I haven't eaten a vegetable since we flew to Nashville on Wednesday afternoon; I saw Jon Pareles and Bill Murray enjoying Radiohead’s set; and I've seen more regrettable tattoos in just these three days than I've seen in my entire life (special shout-out to the black bear on the California state flag whose claws morph into tree roots). But the best experience at this Bonnaroo so far has been seeing - in my opinion - the best live band right now, Battles.
One of the most exciting parts about even making it to the tent that Battles played, was passing by other stages.
- 6/9/2012
- by MTV News
- MTV Newsroom
At last night's gala benefit for The Moth, a non-profit dedicated to the art of storytelling, Darryl "D.M.C." McDaniels shared a few memories of Adam "McA" Yauch with The Huffington Post.
In the early 80s, McDaniels' group, Run-d.M.C., and Yauch's group, the Beastie Boys, were label-mates on Def Jam Records -- and tag-team partners locked in combat with music's status quo. Today, both groups are safely ensconced in the Rock & Roll Hall of Fame, but it wasn't always obvious that they were destined for immortality.
"You know, it was early, so people thought Run Dmc's a fad, Beasties is a fad, you know, all of this is a fad," McDaniels said. "Run-d.M.C., we crossed over with the rock -- but then it was Run-d.M.C. and the Beastie Boys that took it to venues. We started playing Madison Square Garden, L.A.
In the early 80s, McDaniels' group, Run-d.M.C., and Yauch's group, the Beastie Boys, were label-mates on Def Jam Records -- and tag-team partners locked in combat with music's status quo. Today, both groups are safely ensconced in the Rock & Roll Hall of Fame, but it wasn't always obvious that they were destined for immortality.
"You know, it was early, so people thought Run Dmc's a fad, Beasties is a fad, you know, all of this is a fad," McDaniels said. "Run-d.M.C., we crossed over with the rock -- but then it was Run-d.M.C. and the Beastie Boys that took it to venues. We started playing Madison Square Garden, L.A.
- 5/9/2012
- by Michael Hogan
- Huffington Post
Half a century has passed since the Beach Boys first got together, with bitter rifts, lawsuits and some really good music defining a seemingly tragic career arch.
But now they're back, stopping by "Late Night" to harmonize with Jimmy Fallon (who was years away from being born when the Boys were already on their Surfin' Safari) and performing a stellar show at New York's Beacon Theater.
The New York Times review of a recent concert says the band is still capable of putting on quite the show. "The Beach Boys are in their 60s and 70s now, and it showed," writes Jon Pareles. "But memory and a knowing backup band supplied what mortal performers cannot."
It's an exciting time for fans of The Beach Boys. Will you be checking out Brian Wilson, Mike Love and the band this summer?
Their new studio album, "That's Why God Made the Radio," will...
But now they're back, stopping by "Late Night" to harmonize with Jimmy Fallon (who was years away from being born when the Boys were already on their Surfin' Safari) and performing a stellar show at New York's Beacon Theater.
The New York Times review of a recent concert says the band is still capable of putting on quite the show. "The Beach Boys are in their 60s and 70s now, and it showed," writes Jon Pareles. "But memory and a knowing backup band supplied what mortal performers cannot."
It's an exciting time for fans of The Beach Boys. Will you be checking out Brian Wilson, Mike Love and the band this summer?
Their new studio album, "That's Why God Made the Radio," will...
- 5/9/2012
- by The Huffington Post
- Huffington Post
Yesterday was all about the Cannes lineup, so we've got quite a bit of news to catch up with today. First and foremost, Cinema Scope has relaunched its site with a healthy selection of pieces from Issue 50, which cinephiles lucky enough to be holding a print copy have been talking about for weeks now. Editor Mark Peranson: "So to commemorate 50 issues, I came up with the silly (not stupid) idea of deciding on the best 50 filmmakers currently working under the age of 50 (or the top, or the greatest — I've spent far too much time pondering this silly adjective). I'm anticipating heaps of criticism for this in the blogosphere, but I hope this leads to a little discussion outside of the pages of this magazine, and provides a snapshot of where cinema finds itself today."
20 of those 50 pieces are online. You'll find, for example, Raya Martin on Carlos Reygadas (and...
20 of those 50 pieces are online. You'll find, for example, Raya Martin on Carlos Reygadas (and...
- 4/20/2012
- MUBI
New York. In Gob Squad's Kitchen (You've Never Had It So Good), a show at the Public Theater through Sunday, the German/British collective Gob Squad reconstructs a batch of films by Andy Warhol, in particular, of course, Kitchen (1965). Amy Taubin files a terrific report at Artforum, recalling an early-ish assessment of the film by Norman Mailer and noting "the Warhol/Godard connection." At the outset of the performance, the audience is taken on a tour of the set and told "that the black-and-white video projections which comprise almost the entire performance (and which resemble the texture and tonalities of Warhol's black-and-white 16mm films) are a simulcast of the performance taking place in the colorful, three-dimensional space behind the screens — and not a prerecorded video. The strategy works. Paradoxically, the video, which is larger than life but also ghostly, is more convincing than seeing flesh-and-blood performers moving around a...
- 2/2/2012
- MUBI
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