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sinceileftyoublog · 1 year

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Shannon Lay Interview: The Volume Meets the Medium

BY JORDAN MAINZER

Upon listening to “Angeles”, the Elliott Smith interpretation that opens Shannon Lay’s first covers album Covers Vol. 1 (Sub Pop), you’re struck by something familiar, yet different: her voice. Whether singing original songs, Karen Dalton on 2019′s August, or Syd Barrett on 2021′s Geist, Lay’s voice has always taken on an expressive whisper. You know--kind of like Elliott Smith. But on “Angeles”, she goes full force, unobscured by the haze of her past material. It’s the first song on the first album released since Lay’s taken voice lessons, taking advantage of a living situation and time in her career when she can sing out loud without bothering a roommate, with the confidence and good habits she’s developed over years of writing and performing.

Covers Vol. 1 is, in many ways, different than your traditional covers album. The artists included on it feel like an extension of Lay’s world, from the gentle caress of Nick Drake or Arthur Russell to the Bay Area scuzz of Ty Segall and OCS. (Lay’s spent a lot of time in Ty Segall’s Freedom Band.) Artists like Sibylle Baier and Jackson C. Frank are newfound loves, whereas Smith, Drake, Segall, and OCS are longtime influences. For an artist who wears her influences loudly and proudly while having still developed a unique artistic voice, a covers album is almost the perfect embodiment of Shannon Lay.

When I spoke again with Lay over the phone a couple months ago as she was about to embark on an opening tour for Whitney, she talked about why she likes not just recording covers, but playing them for an audience. “It’s such a great unifier, especially for an audience that doesn’t know you,” she said. “‘You like this? I like this, too!’” Lay plays Friday at the South Pasadena Masonic Lodge, Saturday at the Sebastiani Theater in Sonoma, and in July at the Permanent Records Roadhouse in L.A. Whether it’s a celebration of the release of Covers Vol. 1, Geist, her whole discography, or music in general, you can be sure to hear her as the messenger of some songs she didn’t necessarily write, embedded in the folk tradition.

Read our conversation below, edited for length and clarity.

Since I Left You: Both times we’ve spoken, you’ve talked about how much you like doing covers. You’ve included covers on your otherwise-original albums. What made you want to do a full covers album?

Shannon Lay: I think I had just amassed enough. I had so many under my belt that I loved playing live over the years, and it felt good to release something indicative of how I’ve been playing live lately, which is solo with this nylon string guitar, stripped-down, campfire style. It seemed appropriate.

SILY: Are there a couple tying threads among the range of artists you cover on here?

SL: I really wanted to be transparent about my influences, considering the fact that people who like my music would probably love these other artists, too. It felt like a nice way to let people in to the way I make music and open them up to the things I like, too. If you like me, you’ll definitely like Nick Drake and Elliott Smith.

SILY: It’s certainly a mix of eras. I was excited to see a couple modern day Bay Area luminaries in Ty Segall and OCS. How did those bands influence you as much as, say, Nick Drake and Sybille Baier?

SL: To have real-world experience with people I revere so much has been amazing. Ty and [OCS’] John [Dwyer] have been so supportive ever since I started playing music. It’s been super cool having them as a source of inspiration and support. I love them as people, but I absolutely love their music, so I had to pay tribute to those two guys. They’ve been so impactful on my life, musically and personally.

SILY: On your past couple records, your singing style seems more whispered and subdued, layered and affected. On here, especially on the Elliott Smith and Jackson C. Frank covers, you’re not obscuring your voice at all, which I found especially interesting on the Elliott Smith track, because that’s his singing style. Can you talk about how you adapted your vocal performance for these covers?

SL: I’ve been learning a lot about my voice. I’ve always loved to sing, but I think I grew up singing in these environments where I was living with someone, or roommates, and I didn’t want to bother anyone. I was always quite shy with my singing. Recently, I’ve had the ability to have my own space and explore what it’s like to go full-voice. Also, the way I’ve been tuning my guitar, which I got from Sybille Baier, is tuned down to C-standard. My voice fits so cozily in that zone. I started taking vocal lessons last year. It just blew the doors open, and I was able to find a much more powerful place to sing from. This record is the first place I’ve recorded that progress. Feeling it, and hearing how it hits the tape, particularly on the “Angeles” cover, was so delicious. I get why people love it: It’s this stunning compression that happens when you get that volume that meets that medium.

It’s been so cool. A lot of times, when you play an instrument or sing, you feel like you max out what you’re able to learn about it. I don’t think that’s true for anything. I feel like you can always learn more about what you love doing. With singing, it’s been really cool to expand the possibilities of it. I also want to sing for the rest of my life, so [it’s about] finding healthy habits and a new love for it. It’s stunning. I love it!

SILY: It’ll be cool to hear how you take this new approach into your original songs.

SL: Totally, especially if you see me live lately. It’s the new ingredient in the mix, which has been really fun in a simplified setting. It really maximizes the potential of how dynamic the vocals can be. It’s a really cool instrument, and it’s built into all of us.

SILY: Can you pinpoint your exact relationships to all of these songs, like when you first heard them or fell in love with them? Are there any that are newer to you?

SL: Sybille Baier is pretty new. I only discovered her in the last 4-5 years. Jackson C. Frank was also a pretty new love. The two of them have a lot in common. There’s a beautiful poetic melancholy to the way they make music, and two people I’d love to create a platform to lift them up on. They’re lesser known within this list of people.

The Jackson C. Frank song, I had never heard a cover done by a woman. I wanted to sing it from a female perspective. I thought it was interesting the way it took shape and became a little bit more wistful. I intentionally cut a verse that talked about giving up and not trying anymore. [laughs] I don’t agree with that. There’s something about heartbreak that propels you forward. It’s not about giving up, it’s about overcoming that moment. I liked bringing a more hopeful perspective to a very sad song.

SILY: The last time we talked, you said you always have a Sybille Baier track in your back pocket to cover at any moment. Why’d you choose this specific song?

SL: I wanted to pick songs that hadn’t been covered very much. [“I Lost Something In The Hills”] has some of my favorite lines I’ve ever heard in music. The whole arc of it feels like a coming-of-age story. Understanding yourself in an accepting light and that you’re kind of a weirdo, and these “strong and strange moods,” as she says. I can highly relate.

SILY: It’s a microcosm for the whole record, a curation of songs as a sort of mixtape, but you just happen to be the one singing.

SL: Yes! I love that.

SILY: “I’m Set Free” is a fun one because everyone says Lou Reed’s voice is deadpan, but your cover sort of reveals the song’s melody.

SL: [laughs] Totally. It’s a trip, man. I love transforming that song. The original has a washy thing about it, and I wanted to bring it down to Earth. The lyrics are so beautiful, and the message is, “I’m leaving the story behind,” having a clear perspective of a situation and it being up to you how to feel about things.

SILY: The Ty Segall cover is from Sleeper, his first “folk” record, but OCS have never gone through that folk phase to the extent Ty has. They’ve always maintained a certain level of noise, and "I Am Slow” specifically has a lot of weird instrumentation. How did you find adopting it to a folk song?

SL: That one was funny. With all the covers I’ve done, it falls into place so naturally, and that one just spilled out one day. I had to check with John on the lyrics because I wasn’t exactly sure what he was saying. [laughs] I got to play a few songs with OCS when they released their last record, which is one of the most stunning pieces of music, and I got to sing that song with Brigid Dawson. Every time I listen to OCS and play that song, I feel like I’m paying tribute to San Francisco. It just boils down the vibe of the [city], like a love note to the Bay Area.

SILY: What’s the story behind the cover art of this record?

SL: I do love a pun, so I wanted me under covers on the cover of the covers record. [laughs] It was a really fun shoot. My partner Kai MacKnight shot it on 16mm and grabbed stills, so it had this stunning texture about it. I was actually laying underneath a picnic table, and he was on top of the picnic table to get the shot. I love how it came out. It’s ethereal and ambiguous.

SILY: The title of this album has “Vol. 1″ in it. Do you have other covers set to record and release?

SL: I don’t, but I wanted to establish this never-ending journey. I really appreciate music and sharing music. I love bringing my perspective to songs. I want Vol. 2 to be all duets. I’m going to amass a bunch of duets for that one and see where it goes from there, and eventually release a sick-ass box set. [laughs]

SILY: Are you working on any original material?

SL: I’ve been sporadically writing ever since I released Geist. I want to figure out what that wants to be. I’ve also been writing with other people. I have a few things on the stove simmering, and I want to see what they turn into. I feel it on the horizon.

SILY: Anything else next for you?

SL: Just enjoying the ride. I’ve been doing ceramics!

SILY: Anything you’ve been listening to, watching, or reading you’ve dug?

SL: I just finished Poker Face, which I absolutely loved. It gives me X-Files vibes, which is such a nice thing to have in modern television.

I’ve just been listening to Elliott Smith for like the last year. I can’t stop. [laughs] And Pavement. A modern artist I’d like to hype is Allegra Krieger. She’s fantastic, an East Coast gal who makes the most incredible folk music you’ve ever heard. Her last album Precious Thing has been on repeat. It brought me to tears the first time I’ve heard it.

SILY: Did you see a Pavement reunion show?

SL: I did. It was in-credible. They gave the people what they wanted.

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myearspleasure · 22 days

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VENDREDI 30 AOUT 2024

NICK CAVE & THE BAD SEEDS - WILD GOD

TY SEGALL - LOVE RUDIMENTS

#music #record collection #vinylrecords #nick cave & the bad seeds #ty segall

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srbachchan · 1 year

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DAY 5608

Jalsa, Mumbai June 25, 2023 Sun 11: 21 PM

🪔 .. birthday happiness to .. Ef Anamika Gupta .. and .. Ef Özen Eren .. love from your Ef Family ..

And .. more love and happiness .. to Ef Rajesh Kejriwal from Kolkata .. for his 34th Wedding Anniversary on June 26 ..

Sunday GOJ bring the children of the God’s .. but poor ones .. they have no idea why they have been subjected to this ordeal .. and in rain .. !

.. why this posture , I have no idea .. the fact that he has climbed the lampost .. the ‘express ‘ bill board .. which does not seem to be relevant .. so what ... if any of the Ef have any inputs please give .. 😳

kids stories by a kid .. he wrote this book .. a 7-8 yr old writer .. and I shall acknowledge the effort ..

errrmm .. anyone explain what this is trying to say !!??

.. and off on a drive - a self drive around the corner .. errr .. sorry that expression would be wrong .. no I am not going to the ‘errr euphemism ?” .. going round the bend .. damn that is wrong too .. no I am not pleading insanity .. driving around to make sure the vehicle doesn’t send a message to the phone that your battery has discharged .. erumm , that is wrong too .. and I shall not dwell on its why’s and wherefores .. so just a Sunday drive ..

बाजरे दी रोटी ख़ाददी , फूपड़ियों दा साग रे ; something something something something ; तो बोलण् लाग्यो कॉग रे ! 🎶🎶

पूरे शब्द भूल गये हैं हम , तो something डाल दिया है rhythm के लिए

बचपन में सुना था । बाबूजी के पास एक कवि आते थे , जो की शायद हरियाणा से थे । उनके मुख से ये सुना करते थे , ये गीत , जो की वहाँ का लोक संगीत है ..

anyone from Haryana , that could put light on this .. ???

... and a big difference today .. SHOES .. shoes because , shooting bare feet, whole of yesterday , gave rise to a rise in what is generally referred to bumps in the foot .. named blisters .. a similar incident earlier had incapacitated the body for long so taking precaution .. so the temple is still the same, and next time round it shall be revered .. 🙏

.. a provision for drinking water .. with a bit of lime to quench the thirst of them that come to the gates of the J .. the GOJ .. 2 on each side .. and paper glasses to maintain hygiene .. !!

Gawd .. ! everything shut just now .. no, the cursor stopped moving .. I mean it was moving but not registering what I wanted to write or open ..

FRUSTRATED ..

Then noticed the time ..

It was 12 mid night .. !

and this is my personal observation ..

Jio mia , has a problem each night at this time for about 15 - 20 minutes .. when internet shuts .. why I have no idea .. it’s not like the machines have to go to the ‘err euphemism’ ? ... but what is this .. ?

and sorry for the usage of the word ‘euphemism’ .. had picked it up from a play I did in Kolkata on stage for the Amateurs, our theatre group, later made into a film starring Burton and Liz Taylor .. errrrm .. shall get the name presently ..

Haaa .. yes .. Who’s Afraid of Virginia Woolf .. and I played Nick , played by George Segal in the film .. he uses this word when he ask the hosts - Burton and Liz during a conversation in their drawing room, “which way to the , err euphemism ‘ ? a polite genteel term asking which way to the washroom ..

the things that remain with you .. quite quite intriguing .. knew the term , had forgotten the name of the play .. !!! 😳

So yes where were we .. aah yes the Sunday without shoes .. or rather without them .. yes yes yes .. they shall be without the next time ..

So .. oh there we are again .. on ‘so’ .. no really .. so I need to go and study my dialogues and lines for the morrow .. for the shoot ..

and there is the traditional ..

नमस्कार 🙏

Amitabh Bachchan अमिताभ बच्चन

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fleursfairies · 9 months

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2023 was the year of rebirth

not only quarantine rebirth but also in the media

we got

hunger games movie and josh hutcherson renaissance

percy jackson show

supernatural season 16?????

and then at the golden globes i feel like almost everyone that got awards are having their second rebirth. like idk if its just me but i feel like all of the people nominated and rewarded had a super popular thing years ago

like jeremy allen white with shameless

margot robbie with harley quinn etc

ryan gosling with the notebook etc

emma stone with like...every movie in 2012

kieran culkin... like KIERAN CULKIN WON A GOLDEN GLOBE what year is it???

carey mulligan, rachel weisz, jennifer lawrence, natalie portman, emily blunt, jodie foster, julianne moore, rosamund pike, christina ricci, maryl streep, elle fanning, natasha lyonne, helen mirren, imelda staunton, keri russell, sarah snook, sam claflin, andrew scott, barry keoghan, bradley cooper, cillian murphy, leonardo dicaprio, joaquin phoenix, matt damon, nick cage, mark ruffalo, robert de niro, willem dafoe, james marsden, bill hader, jason segal, martin short, gary oldman

what year is this 💀

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laytonnpcbracket · 1 year

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Welcome to the Layton NPC Showdown!

This is a bracket to determine which of the many memorable NPCs from across the Professor Layton games are the greatest.

GAMES INCLUDED: Every game except LBMR. Eternal Diva characters are also not included here.

WHAT COUNTS AS AN NPC?: Anyone who doesn't have a puzzle animation. Characters excluded are Layton, Luke, Flora, Clive, Emmy, Randall, Aurora, Des, Espella, Phoenix, Maya, Katrielle, Ernest, Sherl, Hastings, and Emiliana.

WILL THERE BE NOMINATIONS?: Nope! Every NPC will be included.

WHAT ABOUT THE LAYTONMOBILE/MOLENTARY EXPRESS?: No vehicles. Not characters.

WHAT ABOUT THE PUZZLE LADS/LASSES?: I only plan on including characters that we can speak to in-game, so no Puzzle Lads or Lasses. Sorry to the people who like them 😔

WHICH CHARACTERS ARE INCLUDED, THEN?: Anyone who isn't an exception listed above that is in the profiles of the game! A full list is enclosed below.

WHEN WILL THE TOURNAMENT START?: More information forthcoming on that! I have to seed the bracket first :)

WHY IS NAIYA YOUR ICON?: In my opinion, she's one of the more underrated NPCs of the series. I'll probably cycle through some of the ones I have available to me right now.

WHAT CRITERIA SHOULD I VOTE ON?: Whatever makes you happy :)

ARE ALTER EGOS SEPERATE CHARACTERS?: No. For instance, Ratman is not included because his secret identity is in the tournament.

US OR UK NAMES?: I will try to make available as many names for the NPCs as possible! Which includes their Japanese names and as many names in the localizations as I am able to obtain from the wiki and my own sources. I'll probably reliably have the English (both versions where applicable), Japanese, and French names for every character when I do the bracket rounds. The list below however is entirely in English.

And now for a list of the entries! I didn't check all of these for inconsistencies, but I attempted to ascertain that I used the US versions. Some of them might be UK versions though because that's the version of the game I have (specifically Diabolical Box NPCs and Last Specter NPCs -- I know some of their US names but not all).

Franco

Stachenscarfen

Ingrid

Percy

Marco

Ramon

Matthew

Lady Dahlia Reinhold

Gordon Reinhold

Simon Reinhold

Claudia

Beatrice

Deke

Agnes

Pauly

Crouton

Flick

Rodney

Chelmey

Lucy

Zappone

Gerard

Jarvis

Adrea

Pavel

Crumm

Prosciutto

Archibald

Sylvain

Martha

Giuseppe

Augustus Reinhold

Granny Riddleton

Don Paolo

Bruno

Andrew Schrader

Anton Herzen

Katia Anderson

Sophia

Mr. Anderson

Beluga

Sammy Thunder

Macaroon

Chester

Babette

Tom

Ilyana

Geoff

Garland

Nigel

Jacques

Barton

Grousley

Steve

Capone

Mitzi

Lili

Sally

Marjorie

Conrad

Karla

Romie

Dorothea

Clabber

Oscar

Nick

Gabe

Balsa

Wurtzer

Lopez

Laurel

Parcelle

Lulu

Albert

Madeline

Remy

Angus

Kostya

Dylan

Joseph

Rory

Lila

Damon

Felix

Niles

Duke

Hopper

Olson

Derby

Dawson

Joanie

Krantz

Grinko

Marina

Opal

Ray

Gregorio

Narice

Gertie

Hamster

Precious

Winston

Claire

Dimitri Allen

Bill Hawks

Spring

Cogg

Dean Delmona

Shipley

Puzzlette

Beasley

Parrot

Subject 3

Bostro

Family Goon

Lockjaw

Splinters

Marzano

Layman

Fisheye

Silky

Shmelmey

Shmarton

Ward

Smith

Florence

Vito

Art

Niklaus

Anita

Alfie

Hazel (UF)

Adeline

Max

Becky

Margaret

Pallard

Dupree

Natalia

Harold

Horace

Hardy

Cuthbert

Segal

Catanova

Rosetta

Colby

Rudolph

Misha

Dylan

Viv

Pepper

Checker

Avogadro

Maya (UF)

Myrtle

Belle

Graham

Slate

Ernest (UF)

Berta

Minnie

Paige

Raleigh

Beacon

Mark

Rosa

Grosky

Keats

Clark Triton

Brenda Triton

Arianna Barde

Tony Barde

Doland Noble

Levin Jakes

Loosha

Toppy

Crow

Marilyn

Roddy

Scraps

Tweeds

Wren

Socket

Louis

Badger

Aldus

Charlie

Jasmine

Bucky

Fische

Beth

Mido

Clarence

Joe

Molly

Marion

Browne

Hugo

Dominica

Paddy

Brock

Aunt Taffy

Shackwell

Greppe

Goosey

Mimi

Hans Jakes

Maggie

Yamada

Sean

Olga

Finch

Sebastian

Cornelius

Chappy

Hannah

Mick

Colby

Monica

Thomas

Nate

Ewan

Chief Engineer

Naiya

Chippe

Bram

Ghent

Nordic

Gilbert

Roland Layton

Lucille Layton

Henry Ledore

Angela Ledore

Alphonse Dalston

Leonard Bloom

Sheffield

Billson

Mrs Ascot

Pascal

Guy

Lapushka

Gustav

Gonzales

Drake

Tyrone

Sterling

Mordy

Collette

Maurice

Juggles

Puck

Yukkles

Murphy

Tanya

Firth

Madelaine

Stumble

Artie

Michelle

Nils

Frankie

Conner

Humbert

Policeman (MM)

Yuming

Esther

Lionel

Doug

Mr. Collins

Leon Bronev

Raymond

Prima

Harald

Donna

Mascha

Georg

Mackintosh

Solveig

Erik

Hazel (AL)

Igor

Sonya

Moos

Larisa

Karpin

Boris

Dariya

Pavlova

Carmichael

Amelie Chelmey

Policeman (AL)

Tommy

Morel

Chestnut

Amanita

Blewitt

Chanterelle

Button

Lepidella

Bud

Javier

Benny

Miranda

Martine

Barbara

Ruby

Scarlett

Flint

Old Red

Jesse

Derringer

Julien

Romilda

Sheppard

Piet

Felicia

Rik

Beatrix

Umid

Banu

Dana

Temir

Mehri

Nassir

Adler

Robin

Macaw

Plover

Grouse

Gannet

Swift

Carmine Accidenti

Olivia Aldente

Allan

Bardly

Zacharias Barnham

Newton Belduke

Birdly

Boistrum

Cecil

Cinderellia

Constantine

Cracker

Cutter

Darklaw

Dewey

Dzibilchaltunchunchucmil

Patty Eclaire

Eve (cat)

Flynch

Foxy

Jean Greyerl

Hoot

Judge

Kira

Knight Captain

Knightle

Lottalance

Lyewood

Lettie Mailer

Balmung

Mary

Muffet

Muggs

Ridelle Mystere

Nozey

Petal

Petter

Ms Primstone

Emeer Punchenbaug

Robbs

Old Rootie

Rouge

Servius

Shakey

Johnny Smiles

Snowy

Storyteller

Tuggit

Price

Wordsmith

Pipper Lowonida

Phineas Barnone

Madame Doublée

Liza Wight

Grant Sloans

Cesar Chance

Mustafa Fulhold

Hans Lipski

Aleks Lipski

Maverick D. Rector

Seymore Fraymes

The Major

Eddie Torre

Hayes

Maid

Wooooster

Bianca Teller

Security Guard

Shadee

Taboras Lloyd

Douglas Dert

Ratboy

Mo Heecan

Mrs Slow the Tailor

Midas Pullman

Declan Swabber

Abel Seamon

Felicity Hastings

Gene Ohm

Billy Kidd

Royall Britannias

Clover Pryce

PC Beate

DC Booker

Waiter

Séan Butchin

Bo Bells

Hessie Tate

Benjy

Bess

Keane Fisher

Bob Bracket

Stripey

Patch

Cat

Yapper

Gudrun Weldon

#professor layton

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weclassybouquetfun · 2 years

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Hmmmm...

Or maybe I want it to.

I respect Apple had AFC Richmond take to their socials to promote TED LASSO's series 3 teaser image.

But as a spoilerphobe, I'm with Nick.

The cast also took time out to congratulate Brendan Hunt for appearing on Celebrity Jeopardy

and the debut trailer for Brett Goldstein and Bill Lawrence's upcoming series SHRINKING starring Jason Segal and Harrison Ford.

Sadly, the Paley Center for Media shuttered their gorgeous Los Angeles complex so our loss is New York's gain as Goldstein, Lawrence and some of the SHRINKING cast (including Lawrence's wife Christa Miller (SCRUBS, THE DREW CAREY SHOW), Michael Urie (UGLY BETTY) and Lukita Maxwell (Generation)) will be on hand at their Paley Center for a panel moderated by Zach Braff.

We do have our detractors, though. The cheek of Timothee Chalamet!

#bants #ted lasso #ted lasso cast #brett goldstein #hannah waddingham #toheeb jimoh #cristo fernández #brendan hunt #bill harris #shrinking #apple+#apple plus #streaming #moe jeudy lamour #timmy chalamet #timothee chalamet #davidelsendoorn #moe hashim #ted lasso alums

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byneddiedingo · 1 year

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Elizabeth Taylor and Richard Burton in Who's Afraid of Virginia Woolf? (Mike Nichols, 1966)

Cast: Elizabeth Taylor, Richard Burton, George Segal, Sandy Dennis. Screenplay: Ernest Lehman, based on a play by Edward Albee. Cinematography: Haskell Wexler. Production design: Richard Sylbert. Film editing: Sam O'Steen. Music: Alex North.

I don't know if Who's Afraid of Virginia Woolf? is a great play -- I've never seen it on stage -- but it's not a great movie, perhaps because it sticks so closely to an uncinematic source. What it does have is one great performance, Richard Burton's, and one near-great one from Elizabeth Taylor. Unfortunately, George Segal and Sandy Dennis are miscast as Nick and Honey: He's too hip and she's too rabbity for their roles to take dramatic shape. Ideally, I think, Nick and Honey should be the conventional flies lured into George and Martha's sinister web. But as Mike Nichols directs them, they don't bring enough initial squareness to their parts, so their disintegration during the game-playing of their hosts happens too swiftly. What makes Burton's performance so memorable is his ability to shift moods, from sullen to mocking, from beleaguered to triumphant, in an instant. He also quite brilliantly suggests George's only barely latent homoerotic attraction to Nick, making it clear that he's titillated by the very idea of Martha's sleeping with the younger man. Taylor falters only in letting her Martha get too shrill for too long: A slower crescendo to her shrewishness would have been welcome in many scenes. Oscars went to Taylor and Dennis, but Burton lost to Paul Scofield in A Man for All Seasons (Fred Zinnemann, 1966) and Segal to Walter Matthau in The Fortune Cookie (Billy Wilder, 1966). Oscars also went to Haskell Wexler for black-and-white cinematography, Richard Sylbert and George James Hopkins for black-and-white art direction and set decoration, and Irene Sharaff for black-and-white costuming. This was the last year in which these categories were divided into color and black-and-white. It's likely that if the color/black-and-white division had been eliminated a year earlier, the film would have missed out on some of those honors. Though he was a noted cinematographer, Wexler doesn't do his best work on Virginia Woolf, partly because Nichols, making his directing debut, called on him to do some close-up shots that not only don't hold focus but also distract from the essence of the drama, the interplay of its four characters, something easier to maintain on a stage than in a move. Nominations also went to Ernest Lehman as the film's producer and screenwriter, Nichols as director, George Groves for sound, Sam O'Steen for film editing, and Alex North for score. Oh, and if you're wondering why the title is sung to "Here We Go 'Round the Mulberry Bush" instead of "Who's Afraid of the Big Bad Wolf?", essentially killing the joke, it's because the Disney studios, who owned the rights to the tune, wanted too much money.

#Who's Afraid of Virginia Woolf?#Mike Nichols #Elizabeth Taylor #Richard Burton

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duranduratulsa · 3 months

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Now showing on my 80's Fest Stevegoolie Saturday Night...Chopping Mall (1986) on glorious vintage VHS 📼! #movie #movies #horror #scifi #choppingmall #killbots #RogerCorman #riprogercorman #kellimaroney #karrieemerson #barbaracrampton #russelltodd #johnterlesky #PaulBartel #tonyodell #nicksegal #rodneyeastman #suzeeslater #AngusScrimm #RIPAngusScrimm #dickmiller #ripdickmiller #gerritgraham #vintage #vhs #80s #80sfest #durandurantulsas6thannual80sfest #stevegoolie #Svengoolie #METV

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danlous · 1 year

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Not as bad as it could've been but boring and predictable. Lots of same old shows and faces that the voters know. Completely omitting iwtv is a huge mistake they'll regret later. The Crown, The White Lotus, and Wednesday shouldn't have been nominated and Nicholas Braun is my mortal enemy. I'm happy for Keri Russell and Daniel Radcliffe. Haven't watched Shrinking yet but i've heard Harrison Ford is brilliant in it so him not being nommed when Jason Segal is seems like a major snub to me. Delightful that Nick Offerman and Murray Bartlett both got in and didn't cancel each other out like predicted. Since no iwtv actors i'm rooting for Kieran Culkin or Bob Odenkirk for the lead actor and Alan Ruck for supporting. And Rhea Seehorn and Sarah Snook we're getting you those emmys

#keanu.txt

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musicblogwales · 1 year

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Frankie and the Witch Fingers - Futurephobic (Official Video)

Los Angeles psych-punk quartet Frankie and the Witch Fingers have shared new track “Futurephobic” alongside an official video. The song is taken from their seventh studio album Data Doom, due September 1 via The Reverberation Appreciation Society / Greenway Records. FLOOD Magazine gave the video an early debut, describing it as “in line with the album title’s vintage dystopian sci-fi connotations, swapping weed-smoke riffs for frigid new wave pulses and staccato vocal deliveries.”

“The main riff was an idea we came up with during the writing process for our album Monsters Eating People Eating Monsters… but we kept it in our back pockets, as it wasn’t quite fitting in with the theme of that album,” the band explains. “When we started writing Data Doom, it reemerged very organically and everyone latched onto the idea surprisingly fast and ran with it. We expanded on the main riff and came up with the other parts and overall arrangement while writing with our new lineup in our studio in LA. The whole process went surprisingly smoothly. We added backing vocals and overdubs while on tour last year in Europe, doing all the passes to complete the song from various apart-hotels, attics in France and Amsterdam.”

Though they’re currently in the midst of a massive trek across Europe, the band recently announced an extensive run of headline U.S. tour dates for this fall, which include performances at such esteemed venues as Warsaw in Brooklyn and The Troubadour in Los Angeles. See below for the full list of currently-announced dates.

Through six progressively expansive albums, innumerable live dates on an ever-expanding list of continents, and performances with the likes of Thee Oh Sees, Ty Segall, Cheap Trick, ZZ Top and more (to say nothing of their impressive headline dates), Frankie and the Witch Fingers have earned their throngs of global fans with their ecstatically wild live shows and layered, visionary recordings. With Data Doom, the band is poised to welcome even more uninitiated into the fold – it’s their most eclectic work yet, while remaining undeniably cohesive, and they’re supporting it with the biggest headline shows they’ve ever played.

Over the past decade Frankie and the Witch Fingers have operated as an outright force of nature, offering up a revelatory form of psych-rock that hits on both a primal and ecstatically mind-bending level. In the making of their new album Data Doom, the Los Angeles-based four-piece forged a sublimely galvanizing sound informed by their love of Afrobeat and proto-punk—a potent vessel for their frenetic meditations on technological change run rampant, encroaching fascism, and corrosive systems of power. Animated by the explosive energy they’ve brought to the stage in sharing bills with such eclectic acts as Ty Segall and ZZ Top, the result is a major leap forward for one of the most adventurous and forward-thinking bands working today.

Rooted in the cerebral yet viscerally commanding songwriting of co-founders Dylan Sizemore (vocals, guitar) and Josh Menashe (lead guitar, synth), Data Doom marks the first Frankie and the Witch Fingers album created with bassist Nikki “Pickle” Smith (formerly of Death Valley Girls) and drummer Nick Aguilar (previously a touring drummer for punk legend Mike Watt). In crafting their most rhythmically complex work to date, the band drew heavily from each new member’s distinct sensibilities: Smith tapped into her extensive background in West African drumming (an art form she first discovered thanks to her music-instructor parents), while Aguilar leaned into formative influences like longtime Fela Kuti drummer Tony Allen. Self-produced by the DIY-minded band and recorded direct to tape by Menashe, Data Doom ultimately took shape through countless sessions in their Southeast L.A. rehearsal space, with Frankie and the Witch Fingers allowing themselves unlimited time to explore their most magnificently strange impulses.

Once again showcasing the expansive and fantastically eccentric musicality of past efforts like 2020’s Monsters Eating People Eating Monsters..., Data Doom encompasses nine high-wattage songs constructed with both dizzying intricacy and unfettered imagination. On “Mild Davis,” for instance, the band shares a gloriously spaced-out track inspired by a piece from Miles Davis’s early-’70s electric period, cycling through a vast whirlwind of rhythms and textures and wildly spellbinding guitar parts. “We worked on that for two weeks straight, puzzle-piecing together different parts into one very weird and stream-of-consciousness song that’s mostly in a 7/4 time signature,” Menashe recalls. Meanwhile, Sizemore’s lyrics shift between savagely despairing the state of the world and resolutely dreaming of a brighter future. “I wrote the lyrics to ‘Mild Davis' in a moment of feeling pessimistic about what technology is doing to our society, especially as AI is creeping to the forefront more and more,” says Sizemore. “But then the bridge comes from a more optimistic perspective, where it’s questioning whether we could reboot the whole system and start all over.”

After opening on the epic majesty of “Empire,” Data Doom launches into the first song the band’s new lineup wrote together: “Burn Me Down,” an irresistibly jittery track that perfectly encapsulates the album’s transcendent collision of blistering riffs and polyrhythmic grooves. On “Electricide,” Frankie and the Witch Fingers unleash the LP’s most unabashedly punk offering, a bombastic rallying cry built on Aguilar’s breakneck drumming. One of several songs featuring Menashe on sax, “Syster System” slips into a hypnotically fluid tempo as Frankie and the Witch Fingers muse on the possibilities of partnership culture (a concept introduced by futurist Riane Eisler in her seminal book The Chalice and the Blade). “Riane Eisler talks about how our society has a very masculine energy that manifests as the need to exert power, which she refers to as dominator culture,” Sizemore explains. “The alternative to that is partnership culture, which has a feminine energy that’s more symbiotic with nature. The idea behind ‘Syster System’ is that if we could bring that energy into technology, it could help make everything more harmonious.” And on “Political Cannibalism,” Data Doom closes out with a dance-ready anti-anthem stacked with so many loopy details, such as a warped and otherworldly guitar part Menashe spontaneously composed in an attic in France.

To create the cover art for Data Doom (a co-release from Greenway Records and the Reverberation Appreciation Society), Frankie and the Witch Fingers reached out to Italian illustrator Carlo Schievano and UK-based graphic designer Jordan Warren, who then joined forces in assembling an elaborate mixed-media piece complete with its own language system and accompanying decoder. “It was really fascinating to see two different artistic voices working together to make something so unique, with all these hidden elements for people to figure out,” says Smith. Not only an echo of the album’s endlessly immersive quality, Data Doom’s visual component reflects the band’s devotion to unbridled collaboration in all aspects of the creative process. “There was no pressure and no real time constraint for this record, and because of that the creativity flowed in a very free way that probably wouldn’t have happened if we’d been on the clock in a studio,” says Sizemore. “It showed us that the more we take the time to communicate and share our ideas with each other, the more it feeds our creative energy and helps us to make something we’re all really excited about.”

#Frankie and the Witch Fingers #Futurephobic #BigHassleZack #Youtube

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doomedandstoned · 2 years

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Sardinia’s LOOSE SUTURES Return with Fuzzed-Out Single “Highway Shooter”

~Doomed & Stoned Debuts~

By Billy Goate

If Electric Wizard were just a bit more fun, they might be LOOSE SUTURES. Dark for damn sure, but with an exuberant beat, acid-saturated retro vibe, and garage rock gusto. We introduced the fuzz rock trio from Sardinia just year before last, and now they mark their return with a third album, 'Sado Sex for Dummies' (2023).

Drawing from the party-till-you-drop excess of the 1970s, the band explores themes of lust, murder, and drugs, weilding a fuzzy, smoke-filled, high-energy sound that taps into the libertine spirit of late-60s rock 'n' roll.

Today, Doomed & Stoned brings you the first track off of Side A: "Highway Shooter." The band describes like this:

There's no way out, you're gonna die and you know that! So just run as fast as you can and kill as much as you can. Based on a true story, "Highway Shooter" is Loose Sutures’ first single from 'Sado Sex for Dummies.'

The fiery single comes out digitally on March 25th, with the new album dropping in late-May on Electric Valley Records (pre-order here). Stick this on a playlist with Deep Purple, Ty Segall, Thee Oh Sees, The Hazytones, Null, and Turn Me On Dead Man. It's one of my favorite go-to records of the year so far.

Give ear...

LISTEN: Loose Sutures - "Highway Shooter"

SOME BUZZ

Loose Sutures return with Sado Sex for Dummies, their third LP, slated for 26 May digitally and on three variations of vinyl via Electric Valley Records.

Assembled in 2019 by four roughnecks, Loose Sutures plays classic '70s riffs with a pinch of modern punk attitude, conjuring a blend of stoner and garage energy and displaying an abundance of evil beats, venomous fuzzes, and raunchy lyrics. Loose Sutures' music has been praised by fans and critics for evoking a dark and seductive atmosphere reminiscent of cult exploitation movies.

Depicting killer profiles and kinky love stories, the Sardinian group presented their self-titled debut LP in March 2020 via Electric Valley Records. They followed it up with the sophomore album, A Gash with Sharp Teeth and Other Tales, the following year via Electric Valley Records; it later saw a Japanese edition in the Spring of 2022. Introducing the newly recruited Giuseppe Hussain (who replaced Gianpaolo Cherchi, guitars/vocals), the album is “a journey delving into lust with filthy guitars, stoned rhythms, and creepy voices escorting you deep inside the sticky core of what you fear yet desire at the same time.”

Loose Sutures again encountered a lineup change in 2022 when Giuseppe Hussain left the band, leaving the band to operate as a trio. It was a setback, but they refused to let it hold them back. Longtime fellow Marco “Grey” Manca joined to take care of the role of Giuseppe on the “High Heeled Barbarians Tour” around Europe the same year.

'Sado Sex for Dummies,' as the name hints, is a complete handbook to satisfy the needs of the pervs, sadists, and killers out there. An invitation to indulge in fuzz-drenched, punk-‘n-roll violence, this third record from Loose Sutures has no shortage of lurid stories. While there is a touch of evolution, the album has not strayed too far from the band’s established hard, fast, and crude sound. To add more spice to some songs, the album features a couple of guest musicians, including the legendary Nick Oliveri and Alain Johannes.

Get ready to be taken on a frenzied ride into the depths of your darkest desires.

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#D&S Debuts #Loose Sutures #Sardinia #Italy #acid rock #garage rock #stoner rock #Electric Valley Records #HeavyBest2023 #D&S Reviews #Doomed and Stoned

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