FREE FIRE SOUNDTRACK: GEOFF BARROW AND BEN SALISBURY’S SCORE DEBUTS ON MARCH 31!
Taking after their current science fiction imbued abuses on Ex-Machina and Black Mirror, writers Geoff Barrow and Ben Salisbury have toyed with a by and large unique sound for their most recent work, the '70s-motivated score for Ben Wheatley's Free Fire.
Barrow and Wheatley’s past joint effort on High-Rise saw Barrow's band Portishead contribute a notably frequenting front of Abba's 'S.O.S.', while Free Fire's comparable period setting spoke to an open door for Barrow and Salisbury to investigate the jazzier sounds related with activity thrillers of yesteryear.
We sat down for a talk with the team to discover how they composed their inadequate, varied soundtrack, which makes for the ideal backup to Wheatley's unmistakable image of trigger-glad butchery.
Contact with Ben Wheatley
Salisbury: "I think it was through ‘DROKK’ [the not-quite-soundtrack album made from material intended for use in Dredd, which ultimately went unused when Barrow and Salisbury left the project]. Ben wrote a tweet saying that he’d love to see a film with that as the soundtrack. Then Ben saw Portishead, and after one live ‘DROKK’ gig we watched Sightseers, so it was sort of coincidence. Around the same time, he got in touch through Twitter" .
On Wheatley’s original plan for an Ennio Morricone-style score
BS: "The script was right up our street as were all the musical influences we talked about – The Driver, Escape from Alcatraz, The Taking of Pelham One Two Three – all those big brassy ’70s scores. So we wrote a couple of big brassy ’70s-style themes and Ben loved them. It was only when we turned up on set… Ben does this thing where he literally gets an edit as he’s going. He has this very rough edit at the end of each day, and he put some of our music on it and we sort of looked at each other and, even then, we thought, ‘I don’t know if this is right now".
GB: It felt like it kind of worked, but when we saw the colour palette and the realness of the mid-’70s setting and the characters, we realised it was far too cool. That music can be quite heroic and intelligent and it was absolutely the opposite of that. The characters in the film are absolute idiots, really. We needed to write some ‘idiot music’.
BS: There’s a chance that one of those tracks might come out as a bonus track on the soundtrack. If not, we’ll have it up our sleeves if anyone comes to us wanting a big brassy ’70s theme.
The characters’ musical tastes
BS: Obviously there are supporting tracks, like the John Denver track ‘Annie’s Song’, but the idea was to have ‘bought-in’ tracks that suited the characters. And the funny thing is you don’t have to be massively timescale specific. In the same way that the costume design reflects what the characters would wear, the music is what the characters might listen to. And that, actually, could be anything from the ’70s. Who knows what Michael Smiley’s character would have been listening to? When [executive producer] Martin Scorsese saw the film for the first time, he said, ‘Ben, I love the music you’ve found,’ and Ben said, ‘Oh, no – that’s actually been written.’ That was the best compliment we could have had.
The sounds of the ’70s
GB: We ended up going down a pub prog kind of route. We were influenced by bands like Magma or Camel, and because of where the characters came from, it just ended up being a Belfast pub band.
BS: The other wink to that is there’s quite a lot of classical guitar in there, which also was a big thing in prog around then – that sort of pretension to pseudo-classical grandeur.
GB: That’s probably Vern, isn’t it? A South African drug dealer who listens to pseudo-classical music. You can imagine him inviting some poor young woman round to his pad to listen to that…
BS: We felt like we were the film’s in-house band.
On Portishead’s ‘S.O.S.’ cover – and Abba’s response
GB: It was Ben’s idea for us to do a cover of ‘S.O.S.’. Clint [Mansell] had done versions of it, so we got together and did it and it worked out. I think he actually contacted Abba and, randomly, it turned out they were fans of Portishead, which is totally brilliant. We never released it because, to be honest, we didn’t want it to be released. We made it for the film and I don’t think, as a track, it works outside of that. I don’t know if Abba have actually heard it. I’m sure they have, to give it clearance. You can do cover versions, but if you mess around with the arrangement that’s when the band can get involved, or you change a lyric or you change a certain amount of bars. If someone does an awful cover version, you can get them to change it, or not do it at all. But if they cover it immaculately in all bar lengths or notes, the artist has no say. We’ve stopped so many atrocious Portishead covers. And we’ve had stuff come through that we haven’t been able to stop which we’ve desperately wanted to.
Their favourite film scores
BS: I definitely couldn’t pick one.
GB: I’ll choose two, if I’m allowed two: Assault on Precinct 13 and The Good, The Bad and The Ugly.
BS: It depends on where my head’s at, but the things I go back to and listen to are Jerry Goldsmith’s Planet of the Apes, Bernard Herrmann’s Psycho, and stuff that influenced me as a kid. That’s probably the most honest answer, it’s whatever has stuck with me and still gives me goosebumps, John Williams’ stuff. The theme from Star Wars still gets me.
AS TOLD TO PAUL WEEDON for http://lwlies.com
Free Fire is in cinemas 31 March. Geoff Barrow and Ben Salisbury’s soundtrack will be available soon via Invada Records.
Chuck Berry, the singer, songwriter and extraordinary guitar player, the man who practically defined rock music with his perfectly twangy hits "Maybellene," "Move Over Beethoven," "Memphis," "My Ding-a-Ling" and "Sweet Little Sixteen," dies. He was 90.
The artist/musician, whose exemplary "Johnny B. Goode" was picked by Carl Sagan to be incorporated on the brilliant record of Earth Sounds and Music propelled with Voyager in 1977, died Saturday evening, St. Charles County Police Department affirmed. The reason for death was not uncovered.
Amid his 60 or more years in the entertainment biz, Berry in 1986 got to be distinctly one of the principal inductees into the Rock and Roll Hall of Fame. He entered The Blues Foundation's Blues Hall of Fame in '85 and that year likewise got a Grammy Lifetime Achievement Award.
He performed in 1979 for President Jimmy Carter at the White House, arrived at No. 6 on Rolling Stone's rundown of the "100 Greatest Guitarists of All Time" and trademarked his stage ability to entertain with his acclaimed "duck walk."
John Lennon once said, “If you tried to give rock and roll another name, you might call it ‘Chuck Berry.’ ” He paved the way for such music legends as the Rolling Stones, the Beatles, the Beach Boys, the Band, Jimi Hendrix, David Bowie, Eric Clapton, AC/DC, Sex Pistols and Jerry Lee Lewis, among many others.
Muddy Waters, Berry's venerated image and musical impact, gave him some useful backstage exhortation: contact Leonard Chess. Chicago-based Chess Records, essentially a blues name keep running by Polish siblings Leonard and Phil Chess, had a progression of transplanted blues specialists on its list, including Howlin' Wolf, Bo Diddley, Jimmy Reed and John Lee Hooker.
He was one of the first Rock and Roll Hall of Fame inductees in 1986, and Rolling Stone magazine ranked Berry 6th on its list of greatest guitarists.
Chuck Berry was 90.
Six Bomb, "After (Getting Prettier After)"
Cosmetic surgery’s commonness in South Korean culture is overpowering, nonetheless one Okay-pop woman bunch made it a stride extra with their most up to date set of releases. The similarly obscure Six Bomb went underneath the blade and recorded the change for 2 singles titled “Turning into Prettier,” one subtitled “Earlier than” and the inverse "After."
Beginning in February, the demonstration began prodding their “Turning into Prettier” undertaking with the release of “Becoming Prettier Before” close by a music video that affirmed the quartet enhancing themselves going to a restorative surgery facility for a session. However till group began prodding their resulting single, “Turning into Prettier After,” prior this week, it wasn't exclusively certain that the 4 young ladies of Six Bomb had really acquired restorative surgery.
Together with a video that incorporates the women hitting the dance floor with their appearances lined in swathes, the gathering propelled a mystery video that really propelled the part's new faces on Tuesday (March 14). The clasp affirmed that the woman assemble had positively experienced excellence surgical methodology, and affirmed the individuals from Six Bomb assessing their previous appearances and their progressive picture.
The group launched “Turning into Prettier Earlier than” on Wednesday, March 15 (Thursday, March 16 in Korea), revealing of their new faces by the upbeat single.
Past to the track's dispatch, Six Bomb uncovered in a meeting with Korean outlet Star News that they spent cycle 100 million KRW, or $88,600, for every one of the 4 members to get excellence surgical technique. Three of the women had top to bottom work from the abdomen up however didn't clarify a specific techniques, though the fourth had a nostril work.
The group’s members also said that they had been the originators of the idea to have restorative surgery after which toiled to incorporate it into their music and motion pictures.
Six Bomb's individuals aren't the essential Okay-pop stars to admit to having magnificence work executed, be that as it may they're the essential gathering to make utilization of it as a promoting system for his or her music and to portray the strategy in music motion pictures.
Magnificence techniques are not really unprecedented in South Korea, which has one of numerous most noteworthy rates of corrective surgery on this planet. Numerous Korean VIPs have gone underneath the blade and a few other have talked freely about it, albeit coming clear keeps on being nearly exceptional as the recreation exchange favors normal showing up appearances are over surgically changed ones. Some Okay-pop performers have talked honestly about their methodology, and vocal gathering Brown Eyed Girls even propelled a farce of Lady Gaga's "Poker Face" titled "Plastic Face" on SNL Korea again in 2012 to taunt their part's getting restorative surgery.
The music video for “Turning into Prettier After” below :
Morrissey is inclined to stating a great deal of things that he shouldn't, from quietly kicking soil on David Bowie's grave to scrutinizing previous POTUS Barack Obama for being as well "white inside" amid his administration. For hell's sake, Ryan Adams even as of late made an amusement out of Moz's many tone-hard of hearing remarks, contrasting him with Donald Trump.
His most recent piece of flawed basic leadership comes as a fresh out of the plastic new shirt that he'll be offering on his up and coming North American visit. It includes a photograph of productive writer, lobbyist, and social commentator James Baldwin and these verses from The Smiths track : “Unloveable”: “I wear black on the outside/ ‘Cause black is how I feel on the inside.”
Baldwin and his works have for some time been appreciated by the British vocalist, references to him flying up all through Morrissey's self-portrayal. As Pitchfork points out. Baldwin's picture has additionally been utilized amid the Smiths part's live shows previously. Is the shirt expected to be in support of Baldwin? Darkness? Both? Not one or the other?
Whatever the case, however, taken in general — the verses which were composed by a white man, compared with the picture of a dark man who talked widely about the battle of blacks in the US, and the shirt itself being sold to benefit a white man's music vocation — this new bit of stock appears to be off and somewhat uncouth. Morrissey effectively could've quite recently slapped the verses and his own particular face on a shirt and rested until tomorrow. Be that as it may, he didn't.
The t-shirt will be made available on his official merch site.
Rocker Sting has come under fire from fans after refusing to cancel a Tuesday night (14-Mar'17) concert in New York City despite travel restrictions caused by Winter Storm Stella.
America's East Coast was pounded by substantial winds and snow in the early hours of Tuesday, and in readiness for the snowstorm, New York authorities pronounced a highly sensitive situation on Monday (13Mar17), shutting every government funded school in the territory and encouraging inhabitants to maintain a strategic distance from trivial travel.
A significant part of the New York City Subway and other open transport administrations were likewise seriously influenced by the tempest, however regardless of the notices from specialists, agents for the Hammerstein Ballroom in Manhattan declared Tuesday's show with the Englishman in New York hitmaker would go ahead as arranged.
A message posted on Facebook.com read, "Hello Sting fans. According to the Artist and Promoter, the Sting show is booked to occur as arranged today around evening time at 8pm with entryways at 7pm. We truly apologize for any burden. Remain protected and warm!"
The post was met with overwhelming feedback from fans, who scrutinized the choice to arrange the show, regardless of authority security notices.
One devotee remarked on the declaration, expressing, "Staggering. Figure cash is more critical than the security of your clients/fans...," while another encouraged Sting and the show coordinators to rethink: "I would unequivocally propose that you meet with the craftsmen and defer this show. The tempest has hindered trains and metros. Unquestionably if the show goes on, and I can't physically, easily arrive, it will be the last dollar I ever spend on possibly him or your setting. Sting, put off the god**m (sic) appear".
One displeased ticket holder mockingly included, "the best way to 'remain protected and warm' is to STAY INDOORS AT HOME. Who the hellfire thought of this splendid declaration?"
Agents for Sting still couldn't seem to react to the shock at press time.
In the interim, different craftsmen, including Italian operatic pop trio Il Volo, wiped out arranged gigs thus of Winter Storm Stella - they chopped out a show in Boston, Massachusetts on Tuesday because of "harsh climate".
Depeche Mode have hit out at Richard Spencer, the racial oppressor known for getting punched on camera who as of late depicted the group as "the official band of the alt-right".
Spencer, who is President of the white patriot think tank National Policy Institute, made the remarks at the Conservative Political Action Conference (CPAC) amid February.
At first rejecting the claim, Depeche Mode frontman Dave Gahan has now portrayed Spencer as a "c**t" in another interview. He told Billboard: “This guy gets way too much publicity already. What’s dangerous about someone like Richard Spencer is, first of all, he’s a c**t – and he’s a very educated c**t, and that’s the scariest kind of all.”
Gahan added: “I think it was one of those things he threw out there for whatever. But he’s not that type of guy – not like the other guy, the Milo [Yiannopoulos], an attention seeker, a bit crazy obviously. I saw [Milo] on Bill Maher and I was just like, ‘Wow, he really is a nut job.’ Those people to me aren’t so dangerous, but this guy’s [Spencer] got some weight behind him. I don’t like that… I haven’t had as many phone calls or texts from people over something like that – friends here and in the city, and other artists who were kind of shocked and like, ‘What’s this?'”
“My son Jimmy, who is 24, he was kind of shocked by it… He was one of the first to say, ‘You got to make a response immediately.’ Because people read shit – unfortunately, as we know – and they interpret it as being real. It’s hard these days, because you really do have to search what you’re reading and where that information came from.”
Gahan likewise clarified how his band's music has been mixing up for containing conservative references or suggestions: “I think over the years there’s been a number of times when things of ours have been misinterpreted – either our imagery, or something where people are not quite reading between the lines. If anything, there’s a way more sort of socialist – working class, if you like – industrial-sounding aesthetic to what we do. That’s where we come from. We come from the council estates of Essex, which is a really shitty place, just 30 minutes east of London, where they stuck everybody when London was getting too overpopulated in the late ’60s. So I don’t quite get what he was [saying].”
Speaking in another interview with the New York Post, Gahan said of Spencer: “I saw the video of him getting punched [during the Trump protests]; he deserved it.”
Depeche Mode’s upcoming album ‘Spirit’ will be released on Friday (March 17). It was produced by Simian Mobile Disco’s James Ford.
Bits of gossip about another Feist album have been twirling since a month ago, and now official subtle elements for the up and coming release have been affirmed. Feist's next album will be titled Pleasure, and it's expected out on April 28 by means of Universal.
Feist is back with another album, Pleasure. The follow-up to 2011's Metals, Pleasure is out April 28 through Universal, as Exclaim! calls attention to. The album was produced by Feist with Mocky and Renaud Letang. Look at the tracklist, and additionally the cover work of art and Feist's tweets about the record, beneath. Since the arrival of the Polaris Prize-winning Metals, Feist has worked with Peaches, the Muppets, Timber Timbre, and others. She is additionally set to include on Broken Social Scene's prospective record. Feist will perform at Field Trip Music Festival this June and Winnipeg Folk Festival in July.
The 11-song tracklisting down below.
2. I Wish I Didn’t Miss You
3. Get Not High, Get Not Low
4. Lost Dreams
5. Any Party
6. A Man Is Not His Song
7. The Wind
9. Baby Be Simple
10. I’m Not Running Away
11. Young Up
Scarlett Johansson went up against the part of Ivanka Trump for SNL this end of the week, ridiculing the president's little girl in a fake aroma advert.
The actress – who was facilitating the productive outline appear for the fifth time – embraces an unbalanced grin, empty gaze and a long blonde wig for the Trump impression. The item she's as far as anyone knows offering? A perfume called "Complicit."
“Every man knows her name, every woman knows her face,” reads the dulcet voiceover. “A woman like her deserves a fragrance all her own, a scent made just for her. Because she’s beautiful. She’s powerful. She’s complicit.”
The clasp demonstrates Johansson strolling gradually through a glitzy dark tie occasion, while different benefactors look on in perplexity. A server, holding a plate of champagne glasses, maintains a strategic distance from eye contact.
“She's a woman who knows what she wants, and knows what she's doing,” the advert continues, before bringing up Trump’s questionable feminist credentials. “A feminist. A champion. An advocate for women... but, like... how?
It concludes: “The fragrance for the woman who could stop all this, but won’t.” Watch the sketch in full above.
‘She’s beautiful, she’s powerful, she’s complicit’
Watch the video below :
As Lars von Trier's most current creation The House That Jack Built starts shooting in Sweden this week, the provocative Danish helmer held his first public interview since his notorious Nazi upheaval occurrence in Cannes 2011, after which he was pronounced "persona non grata" by celebration coordinators.
Talking in a town lobby recently joined by Matt Dillon and Uma Thurman, a somewhat apprehensive von Trier addressed journalists about the throwing procedure of his new title, The Guardian and Danish telecaster DR report.
"There were so many people we sent the script to who said they would do anything to work with me … except this script,” he quipped. “And then there were two who said yes, and I asked, ‘Are you sure?’ and they said, ‘Yeah, yeah, yeah.’ I think we should make a little test of their reading abilities.”
After Sweden, shooting on The House That Jack Built moves to Copenhagen in May. The story takes after exceptionally insightful Jack (Dillon) over a traverse of 12 years, presenting five occurrences en route that characterize his improvement as a serial executioner. Told from Jack's perspective, he sees each murder as a fine art in itself, despite the fact that his brokenness gives him issues in the outside world and an unavoidable police mediation moves closer and closer.
Never one who appreciates the spotlight, von Trier revealed to DR that being on set again made him on edge and that House That Jack Built conceivably could be his last time in the executive's seat.
“I feel like sh*t,” he said. “I have so much anxiety. I think I’m getting too old for this. Just to work on the set and rush around with some actors, even though they are very sweet, it is a challenge of dimensions. I don’t think I can make any more films after this one.”
At the news gathering, von Trier additionally indicated there was an arrangement to uncover The House That Jack Built at an occasion in 2018 saying,“I have talked to the people I know in Cannes and … yeah, maybe.”
It's unmistakably too soon to reach any determinations; the lineup for Cannes' 2017 occasion is as yet in progress, don't worry about it 2018. Von Trier presently can't seem to come back to Cannes taking after his comments at a public interview for Melancholia, where he said he “sympathized” with Hitler.
Von Trier had been a Cannes dear until the dubious occasion in 2011. He won the Palme d'Or in 2000 for his melodic Dancer In The Dark and furthermore the Grand Jury Prize in 1996 for Breaking The Waves. Kirsten Dunst and Charlotte Gainsbourg won Best Actress at the celebration for their individual parts in Melancholia and Antichrist. Bjork additionally won Cannes Best Actress for Dancer In The Dark.
Since the Cannes commotion, he showed up through PC screen in Venice in 2014 and at the Berlin Film Festival that year donning a "Persona Non Grata" T-shirt for the world debut of the director’s cut of Nymphomaniac Vol. 1.
Irene Sankoff and David Hein's Come From Away, directed by Christopher Ashley, plays Broadway's Gerald Schoenfeld Theatre.
"Come From Away" is not a command but rather a phrase Newfoundlanders use to describe outsiders. It's also the title of Irene Sankoff and David Hein's new Broadway musical opening tonight at the Gerald Schoenfeld Theatre. Set around the town of Gander, it tells the story of how 38 transatlantic flights were grounded at the Gander International Airport on 9/11, nearly doubling the town's population in one day. It also tells of the remarkable bond forged between the town's residents and the "come from aways" that landed there.
The musical stars an ensemble cast of Chad Kimball (Memphis), Jenn Colella (If/Then), Kendra Kassebaum (Wicked), Geno Carr (Allegiance), Joel Hatch (Annie), Rodney Hicks (The Scottsboro Boys), Lee MacDougall (The Wizard of Oz), Caesar Samayoa (Sister Act), Q. Smith (Mary Poppins), Sharon Wheatley (Avenue Q), Astrid Van Wieren (Mamma Mia!), Petrina Bromley (As You Like It), Josh Breckenridge (The Scottsboro Boys), Susan Dunstan (The Lion King), Tamika Lawrence (If/Then), and Tony LePage (Rock of Ages).
Christopher Ashley (Memphis) directs, with musical staging by Tony nominee Kelly Devine (Rocky). The production features scenic design by Tony Award winner Beowulf Boritt (Act One), costume design by Tony Award nominee Toni-Leslie James (Jelly's Last Jam), lighting design by two-time Tony Award winner Howell Binkley (Hamilton), sound design by Tony Award nominee Gareth Owen (End of the Rainbow), orchestrations by August Eriksmoen (Bright Star), and music arrangements by Ian Eisendrath. Come From Away marks the Broadway debut of husband-and-wife songwriting team Sankoff and Hein, both of whom wrote the book, music, and lyrics.
As they praise their 20th anniversary in front of their 6th album release, Kasabian talk only to Q magazine.
Amid the meeting frontman Tom Meighan talks truly about his 'extraordinary' year, amid which he moved out of the home he imparted to his long haul sweetheart and little girl.
Tom, 36, now renting until he finds a new home, revealed: “ I’m by myself, yeah. Because I lost myself. In every way. 2016 was great for Serge, great for Leicester City, shit for me. I had to sort my head out. My attitude. Stuff I was doing. People I was associating with. Not bad people! I was the one that was bad, I was in the haze.”
“You know how in Superman III when he strangles the badness out of himself? Clark Kent’s strangling Superman to kill off the bad one, that’s how I felt. I had to strangle this guy, kill off the bad Superman. And now I’ve got the real Superman back.”
A lot of his despondency, Tom uncovers, originated from having excessively time staring him in the face. “A lot of it was boredom. Now I’ve got to fill it with projects, music projects, or acting, something I can relate to, focus on.”
He didn't look for the assistance of experts, yet rather got the support and help he required from his internal hover of band, loved ones, “the only people I can rely on”. He says: “Life’s about learning. I have to take care of myself now and stop f**king around and get my head out of the clouds and f**king grow up. And that’s what I did. It’s about not being out of control.”
Tom’s long-lasting homie and bandmate, Serge told Q: “Tom had to grow up. You can go one of two ways. You either go insane, or you sort yourself out. The thing is, with this mad…job, you can do whatever you want. Because people let you. As long as the machine keeps going.”
He adds: “Tom’s heart is on his sleeve and he can get hurt, because he’s so open. That’s why people relate to him. He can stand in front of a hundred thousand people and they come away feeling not so alone, they’ve connected with this man who can show them their pain and their euphoria. It’s powerful do you know what I mean? We’re real. Especially Tom. He’s the realist f**king man there is. You can slag that off if you want but he’s more real than I’ll ever be.”
Kasabian’s world exclusive interview appears in this month’s Q magazine, on sale on Tuesday, 14 March.
Kasabian’s new album is released on later this year
Secure up your safety belt, check your mirrors, and keep your arms at ten and two: the eagerly awaited first trailer for chief Edgar Wright's new film Baby Driver has at last arrived. Investigate.
Baby Driver is, as Wright told Empire as of late, something of a minor flight for the British movie producer: not at all like past passage like Shaun Of The Dead or Hot Fuzz this is not entirely a comic drama. Or maybe, it's a pacy vigorous activity motion picture with the accentuation on auto pursues, driven by the iPod music of the main Baby (Ansel Elgort).
As we find in the trailer, Baby is a shades-wearing getaway driver for wrongdoing boss Doc (played by Kevin Spacey) and his partners, including Buddy (Jon Hamm), Bats (Jamie Foxx), and Griff (Jon Bernthal). Child looks quick to make it One Last Job, however Doc has different arrangements. Lily James plays Baby's server sweetheart Deborah.
And in addition the universal trailer, a US trailer likewise arrived in the meantime, altered marginally in an unexpected way. Ambassador, with these trailers...
Motivated to some degree by any semblance of Point Break and The Driver, Baby Driver will handbrake transform into films from 16 August. Keep your eyes peeled to Empire online for a select trailer breakdown with Wright himself from tomorrow.
It wasn't that long prior that The Vampire Diaries had the most astounding evaluations on The CW. Those days are a distant memory however the arrangement won't be suddenly crossed out. It's been chosen that season eight will be the last season, allowing the cast and makers to give the arrangement an appropriate arrangement finale. Will the appraisals keep on falling this year or will they rise, bringing about the executives to lament not making a ninth season? Stay tuned.
The Vampire Diaries rotates around the scan for adoration and the fight amongst great and shrewdness in the otherworldly charged town of Mystic Falls, Virginia. The cast incorporates Paul Wesley, Ian Somerhalder, Kat Graham, Candice King, Zach Roerig, Matt Davis, and Michael Malarkey. The repeating cast incorporates Nathalie Kelley, Kristen Gutoskie, Allison Scagliotti, Lily Rose Mumford, Tierney Mumford, and Tristin Mays.
The appraisals are normally the best sign of a show's probability of remaining reporting in real time. The higher the appraisals (especially the 18-49 demo), the better the odds for survival. This outline will be refreshed as new appraisals information gets to be distinctly accessible — for the most part the following day, around 11:30am EST/8:30am PST. Revive to see the most recent.
The activity begins with Bonnie's fall. Stefan's attempting CPR to revive her, however it's not working. Furthermore, when Caroline's vampire blood doesn't work it is possible that, we blaze to the forested areas, where Bonnie's meandering when she sees Elena lying in what resembles an exceptionally agreeable bed. Elena, eager to see her closest companion, embraces Bonnie before acknowledging what this implies: If Bonnie's here, that implies Bonnie is dead, and that disapproves of Elena. Bonnie should carry on with a full life and develop old, however as Bonnie tells Elena, “I can be with Enzo now… I’m ready.”
Yet, Enzo's definitely not. Appearing to Bonnie, Enzo reveals to her that it's not her time before he maneuvers her once more into the light, which makes her wake up. In the wake of embracing Caroline, Bonnie swings to Stefan and lets him know, "I saw her. I saw Elena."
Back at the ringer tower, Damon and Matt appear to prevent Vicki from ringing the chime, yet as she lets them know, there's no other viable option for them. Damon, urgent to refute that, throws Vicki off of the ringer tower. (He's dependably felt weak at the knees over murdering her.) It doesn't take yearn for her to return, and after he "tests his hypothesis" by breaking her neck, it's authentic: Vicki is quite recently going to continue returning to life. Along these lines, Damon leaves Matt to attempt to break through to his sister while he gets ready for Matty Blue's unavoidable disappointment.
Vicki discloses to her sibling that Katherine has trained her to ring the ringer like clockwork until Mystic Falls copies. All Vicki knows is that she can't backpedal to hellfire. She'd rather be dead and gone, which she will be once she rings that ringer for the twelfth time. So Matt, acknowledging he can't stop his sister, enacts the clearing convention refering to a “gas leak.” The best part? Him saying, “Yes … again.” Poor Mystic Falls and its gas leaks.
Back at the Salvatore manor, Stefan and Damon are attempting to make sense of their best course of action. As Damon puts it, Katherine “played the long game and finally beat us.” At minimum that is the thing that he supposes before he adjusts the corner and sees that Elena's box is void. What's more, when Elena rounds the corner, Damon gets his get-together…
Damon races to Elena and lifts her up in an embrace before acknowledging something. In a moment, he drops Elena, for the most part since she's Katherine. Her reaction? "Inconsiderate." Ugh, I have missed her to such an extent.
After a “hello, brothers,” Katherine clarifies that Elena is still in her profound trance like state. As for where Elena's body seems to be, Katherine gets a line from season 1 Damon and lets them know“That’s for me to know and for you to dot dot dot.” And here's the place we get the full clarification for what's been happening this season: Since the minute Katherine Pierce initially touched base in damnation, she did what she's constantly done best — control men in spots of force. She's had Cade wrapped around her finger, which is the reason he indicated such an enthusiasm for the Salvatores. “He wanted you because I wanted you,” Katherine says.
Also, now, she gets her ideal reprisal. At 10 p.m., all of Mystic Falls, including Elena's body, will consume. “And I’m guessing one of your two Salvatores is going down with her,” Katherine says. Be that as it may, the question is: Which one?
Stefan wounds her with the bone blade they had made in the last scene, which gets them a little time before she unavoidably awakens. With that, they set out to discover Elena. Damon and Stefan split up to make more progress and Caroline guarantees to meet Stefan at the school, however Ric is not a devotee of that arrangement. He's getting the young ladies away, and he needs Caroline to tag along. Caroline tries utilizing the work of art, "It's Elena" pardon that has worked such a large number of times some time recently, yet now, Caroline has girls who require her. As Ric tells Caroline, “I don’t need to remind you what it’s like to lose your mother.” Yeah, Ric's not pulling any punches now, folks.
A year ago, SXSW finished with shots. This year, it's begun with them. The Austin Chronicle reports that Michael Sanders, who plays lead guitar for independent shake quartet Löwin, was shot while strolling home from A Giant Dog's execution at Hotel Vegas on Friday night.
As indicated by Sanders, three veiled men outfitted with handguns and an AR-15 rifle bounced out of the shrubs close to his home, pushed him up against an auto, and stole his cash and mobile phone. As the looters fled to their auto, Sanders strolled in a similar heading towards his home, and one of them pivoted and let go at him, getting him in the shoulder. Sanders figured out how to raced to his home and hit the security alert, and he utilized one of his neighbors' telephones to call the police
“It wasn’t as scary as it was matter of fact and surreal,” Sanders tells The Austin Chronicle. “My first thought to myself was ‘Oh my god, he shot me.’ My second thought was realizing that it didn’t hurt as bad as I would have expected. As far as getting shot goes, it was a very clean shooting. I’m fortunate… because they were trying to kill me.”
“Given the timing of the incident and the location in a neighborhood near the Eastside entertainment district that’s popular for short-term rentals during SXSW,” the paper notes, “Sanders believes the robbers were preying on people coming home from concerts.”
Last year, a shooter let go into the air amidst downtown Austin. In 2014, a car accident killed four people and harmed many others. Perused "Returning to the Car Crash that Shook SXSW, Two Years Later" on the Pitch.
To the extent Sanders knows, the Austin Police Department has not yet made any captures. Sanders' band Löwin has three shows reserved for the coming week, yet lamentably, he won't have the capacity to play.
Alexander Calder, Clangors (1942) (Image: © 2017 Calder Foundation, New York / Artists Rights Society (ARS), New York. Photographer: Tom Powel Imaging)
Alexander Calder’s great-grandson, the artist and musician Gryphon Rue, has organised a group exhibition at Ballroom Marfa in Texas where “sound, or a sonic hint or potential, is the common fiber of each work”, Rue told The Art Newspaper. The show Strange Attractor (10 March-6 August) includes Clangors (1942), a mobile sculpture by Calder that has never left the family’s private collection.
The work, made from three rods that are repurposed from former sculptures, is a sister work to The Clangor (1941) mobile, which got its name from Calder’s description of “three heavy plates that gave off quite a clangor”. It isn’t widely know that Calder was close friends with the French-born composer Edgard Varèse—known as the “godfather of electronic music and one of the first to produce noise music”, Rue says. “They were like brothers.” Varèse’s Ionisation (1929-31), a six-minute composition that was one of the first pieces to be performed in a concert hall by percussionists alone, and Calder’s first hanging mobiles were produced around the same time, Rue notes. Including Clangors in the show “summons a delightful history of blurred ideas exchanged between visual artists and composers”, he says.
The seeds for the exhibition came from a catalogue essay that Rue wrote to accompany an exhibition of Calder’s work at the Kunstsammlung Nordrhein-Westfalen in Düsseldorf in 2013, titled Calder and Sound. This idea was then expanded to look at the use of sound in other artists' work, including Lawrence Abu Hamdan, Thomas Ashcraft, Robert Buck, Beatrice Gibson, Phillipa Horan, Channa Horwitz, Haroon Mirza, Douglas Ross and Lucky Dragons.
Three galleries at Ballroom Marfa will be filled with mostly new commissions of sculptures, tapestries, photographs, films, drawings, prints and other media. In the courtyard, the duo Lucky Dragons—a collaboration between the artists Sarah Rara and Luke Fishbeck—will install tuning forks that visitors can strike on concrete to create “continuously evolving sonic sculptures”, Rue says. There will be two transmitter towers in the courtyard and various towers throughout the town of Marfa, which will allow the sounds to be broadcast and listened to via the local radio station.
Other notable commissions include Cosmos and Supernova by Haroon Mirza, a series of “electro-etchings” made by placing a peyote cactus on blank circuit board material and running an electrical current through it. As the alkaloid-rich juices of the cactus oxidise the copper in the circuit board, it leaves an etched print that “graphically resembles the cosmological clusters that are not too dissimilar to the kinds of visions these plants produce in humans, if consumed”, Rue says.
The Miami International Film Festival reported the champs of its 34th version on Saturday. Cristian Jimenez and Alicia Scherson's "Family Life" took the Knight Competition great jury prize and Nely Reguera's "Maria (And Everybody Else)" won the HBO Ibero-American element film prize.
The 2017 celebration occurred from March 3 through 12, and is the main real film celebration to be created by a school or college.
The complete list of winners :
Best Film Grand Prize: “Family Life (Vide de Familia)” directed by Cristian Jimenez and Alicia Scherson
Best Director: Daniel Hendler for “The Candidate”
Best Performance: Lola Amores and Eduardo Martinez for “Santa & Andres”
(Jury: Michel Franco, Bahia Ramos and Grainne Humphrey
HBO Ibero-American Feature Film Competition:
Best Film: “Maria (And Everybody Else)” directed by Nely Reguera
(Jury: Héctor Medina, Leslie Cohen, Shrihari Sathe)
Jordan Ressler Screenwriting Competition:
Best Screenplay: Tomas Alzamora for “Little White Lie”
Honorable Mention: Marc Crehuet for “The One-Eyed King”
(Jury: Sebastian Cordero, Ana Guevara, Brandon Harris)
Knight Documentary Achievement Award:
“Take My Nose Please” directed by Joan Kron
Zeno Mountain Award:
“The Grown-Ups” directed by Maite Alberdi
Short Film Award:
Best Film: “The Head Vanishes” directed by Frank Dion
Rene Rodriguez Critics Award:
Best Film: “Harmonium” directed by Koji Fukada
Encuentros Award (Works-in-Progress) Presented by Knight Foundation:
“Tigre” directed by Pucara Cine & “Camocim” directed by Ponte Producoes
Another Texas Monthly feature about subtle auteur movie producer Terrence Malick (Days of Heaven, Tree of Life) investigates his shadowy history and the making of his most up to date film Song to Song through optional sources. It's just fitting that it would dig into Malick's melodic taste also: Song to Song, which debuts at SXSW today around evening time, bases on the music scene in the place where he grew up of Austin, and components appearances by Iggy Pop, Patti Smith, The Red Hot Chili Peppers, John Lydon, The Black Lips, Diplo, and that's only the tip of the iceberg.
In the piece, author Eric Benson subtle elements Malick's established music fandom, common since a youthful age; as per a family companion of Malick's, the chief especially delighted in Modest Mussorgsky's Pictures at an Exhibition and Camille Saint-Saëns' Carnival of the Animals (utilized unmistakably in Days of Heaven) in his school days. Hazy YouTube film of Malick square moving in a bar in 2012 proposes the executive additionally acknowledges old fashioned down home music. Be that as it may, these illustrations are intended to fill in as a minor prelude for the deathblow of Benson's story of Malick's melodic instruction: The 73-year-old producer is as far as anyone knows an admirer of Jason Derulo's “Talk Dirty,” as Vulture brings up.
The claim originates from an old family companion of Malick:
“He’ll make these wild associations that really surprise me,” said [film producer] Ed Pressman’s son, Sam, a director and producer who fondly remembers Thanksgiving dinners with Malick at the property Ecky once owned on Lake Austin. “You’ll hear him say something like, ‘I just heard this Jason Derulo song, “Talk Dirty.” I haven’t heard a love song like this before.’ And you’ll think to yourself, ‘That’s so weird, that’s such a shitty pop song.’ And then you’ll listen to it again and you’ll hear this Turkish lick, and you’ll say, ‘Actually, that seemingly innocuous pop song has something really cool to it.’”
This is to some degree astonishing: Not just is Malick equipped for opening his watchers' psyches to new, creative methods for recounting stories utilizing the dialect of silver screen, he can likewise instruct holier-than-thou youngsters that it's alright to simply appreciate popular music. As per the piece, Malick likewise finds imaginative legitimacy in tasteless motion pictures Deep Blue Sea and Zoolander–how novel! You could take a gander at him as a distraught flighty virtuoso for this. Or, then again, maybe, you could simply think of him as a typical, creatively inquisitive person with an assortment of interests, who happens to make truly unusual motion pictures and despise being captured.
The full Texas Monthly here.
HEALTH have quite recently a new cover of New Order’s iconic synth track, “Blue Monday.” To hear the tune, you can look at the trailer of the motion picture that the song was made for, Atomic Blonde. Lamentably, the tempting and absolutely sensible cover is stopped a bit when the trailer moves into Queen's “Killer Queen.” Those that are sufficiently fortunate to have an Apple Music account have add up to access to the track, which is for the most part devoted to the first while tossing a touch of HEALTH's trademark sound in with the general mix.
Health have been generally bustling recently, releasing a remix album not long ago that included a trio of new tunes. To advance the new collection, the band held an "invert fundraiser" with 90s comic drama symbol Pauly Shore. That album incorporated the as of late discharged single “Euphoria.”
The band's latest release past to this remix album was their grand LP Death Magic, and album that accomplished High Fidelity status on this site. Over a year prior, they dropped a solitary "LA Looks," which left a telephone number – those that rang that number finished being a portion of the general population called amid the HEALTH "turn around pledge drive"!
Chloé Thévenin's first feature film sees the Parisian maker—who built up herself all through the '00s with releases on labelslike Kill The DJ and BPitch Control—working with Algerian performers playing customary instruments. As indicated by the name, the "conventional Algerian music stays free now and again, while somewhere else, the electronic perspectives assume control" over the EP's four tracks. Despite the fact that this is the principal highlight film work from both Thévenin and Leber Terki, the two have teamed up on various events before: Thévenin has scored all of Leber Terki's past short movies, while Leber Terki has coordinated Chloé music recordings.
01. Paris La Blanche
0 2. Le Voyage De Rekia
0 3. Theme Rekia
04. The Sum Of Us
Lumière Noire Records will release Paris La Blanche on March 31st, 2017.
By Variety.com on 09 March, 2017
Gunpowder & Sky Distribution has acquired the U.S. rights to romance “Below Her Mouth,” and is planning an April 28 release in theaters and on VOD, Variety has learned exclusively.
Shot with an entirely female crew, the film tells the story of an unexpected romance between two women whose passionate connection changes their lives forever. “Below Her Mouth” stars Natalie Krill and Erika Linder. Krill plays a successful fashion editor living with her fiancé, played by Sebastian Pigott, who meets a roofer who pursues her.
April Mullen directed from a script by Stephanie Fabrizi. The movie is a Serendipity Point production in association with Distant Horizon. It’s produced by Melissa Coghlan, shot by Maya Bankovic, edited by Michelle Szemberg and scored with music composed by Noia.
The film had its world premiere at the Toronto International Film Festival in September and went on to screen at the Festival du Nouveau Cinema, Mar Del Plata International Film Festival, and Goteborg Film Festival.
“‘Below Her Mouth’ offers a fresh, raw and honest look into the electrifying connection between two people through the female gaze,” said Mullen. “I’m thrilled to share the film with U.S. audiences and celebrate love is love.”
Linzee Troubh of Cinetic negotiated the sale with Jake Hanly of Gunpowder & Sky, the digital content studio backed by AT&T-Chernin Group’s Otter Media.
Gunpowder & Sky acquired full control of Supergravity Pictures, the startup in which it had previously held a minority investment, earlier this year. G&S last fall acquired independent content sales and distribution company FilmBuff. The company was founded in 2015 by Van Toffler, former CEO of Viacom’s Music Group, and Floris Bauer, former head of corporate development and strategy at Endemol, together with Otter Media.
Watch the official trailer from Canada’s Elevation Pictures:
starring Imelda Staunton at the Harold Pinter Theatre
Review by: Mark Shenton on www.londontheatre.co.uk/reviews
I've seen some blistering performances over the years in Who's Afraid of Virginia Woolf?, Edward Albee's savage and magnificent marital drama about a long-married couple at perpetual war with each other, among them Billie Whitelaw and Patrick Stewart, Diana Rigg and David Suchet, and Kathleen Turner and Bill Irwin. But I don't think I've ever been quite so shaken to the core and wrung out to dry as I was while watching the utterly ferocious Imelda Staunton and Conleth Hill slugging it out for nine rounds as they weaponise the power of words against each other -- and the younger couple they invite over for late night drinks and draw unwittingly and remorselessly into their excruciating games.
The power of it, though, comes not just from the savagery with which they play them -- and how the implicate and compromise their guests -- but also the desperation and humanity of co-dependency that underpins it.
And Imelda Staunton -- whose speciality as an actress is to expose raw, undiluted feelings with a naked transparency that makes them palpable -- is both frightened and frightening as Martha, just as she was as Momma Rose in Gypsy: she lets you see into the very soul of the character. She is stunningly matched by Conleth Hill's playful but no less damaged and damaging George.
Their guests are also superbly taken by the strutting blonde boy wonder of Luke Treadaway, who at just 28 is an ambitious new arrival in the biology department of the University where the play is set, and Imogen Poots as his wife Honey. James Macdonald orchestrates the fierce, shifting interplay between them with an all-too-plausible sense of shocking reality.
These may be games they are playing, but they have a horrible, even heartbreaking, truth. Producer Sonia Friedman has just received a record 31 Olivier nominations for her productions over the last year; she can already start counting on nominations in 2018 for this. This is an amazing production of a contemporary masterpiece, with some of the finest acting we're likely to see on the London stage this year.
It wouldn't be a Record Store Day without no less than one release from David Bowie. Today (March 9), it was uncovered that April 22 will see two collections of uncommon or unreleased music from him, a 1974 concert and an EP from 1971.
Record Store Day celebrates its 10-year anniversary this year on April 22. To commend the event, Parlophone is releasing two limited-edition version David Bowie albums. The first is Cracked Actor (Live in Los Angeles 1974), live album recorded amid the Philly Dogs Tour that is seeing its first-ever official release. It was blended by long-lasting Bowie teammate Tony Visconti, and components a band lineup that incorporates Luther Vandross on vocals. The other album being released for RSD is Bowpromo, an entertainment of an uncommon 1971 squeezing that highlighted substitute blends of melodies that in the end ended up on Hunky Dory.
Bowpromo contains interchange blends of seven songs recorded amid the sessions for Hunky Dory, five of which ended up on the album. It was a part EP, with the second half containing five tracks by Dana Gillespie, who was additionally marked to the Gem Group, an organization shaped by Bowie's administrator Tony Defries. He squeezed just 500 duplicates and circulated them to marks in the desires of securing an arrangement for one of them. On this, the first commercial release (in spite of the fact that this adaptation of "Eight Line Poem" was found on one of Bowie's Record Store Day exclusives in 2015), Gillespie's songs have been evacuated and the bundle includes five Bowie prints and new liner notes.
David Bowie, ‘Cracked Actor (Live in Los Angeles ’74)’ Tracklisting
“Sweet Thing / Candidate / Sweet Thing”
“All the Young Dudes”
“Rock ‘n’ Roll With Me”
“Knock on Wood”
“It’s Gonna Be Me”
“The Jean Genie”
“Rock ‘n’ Roll Suicide”
“John, I’m Only Dancing (Again)”
David Bowie logo etching
David Bowie, ‘Bowpromo’ Track Listing
“Oh! You Pretty Things”
“Eight Line Poem”
“It Ain’t Easy”
“Bombers / Andy Warhol Intro”
Previous Sex Pistols frontman and deep rooted Arsenal football fan John Lydon has called for supervisor Arsene Wenger to venture down.
Lydon experienced childhood in Finsbury Park in north London, close to Arsenal's Emirates Stadium and the previous Highbury stadium.
Addressing Gigwise, Lydon said of Wenger: He’s been there so long now that there seems to be no way of getting rid of him. He’s so deeply embedded and entrenched in the bureaucracy of the club that it seems impossible to pull him out of there.”
“I’d rather drop a league than continue with him,” Lydon added. “It’s mediocre and it’s unfair to us fans. I’m Arsenal for life and as far as I’m concerned managers can come and go, just like them superstar players who demand too much money. Fuck ‘em all! Remember: it’s a game but it’s a game to be enjoyed and that’s been missing for a few years over there.”
Wenger has gone under expanded feedback taking after Arsenal's 10-2 total annihilation to Bayern Munich in the Champions League.
Lydon as of late stood out as truly newsworthy by saying that he's excused Nirvana for as far as anyone knows replicating his band with their ‘Nevermind’ album title.
Addressing Pitchfork, Lydon appeared to suggest that he felt that the grunge assemble had stolen from his punk band's own particular original 1977 collection ‘Never Mind the Bollocks, Here’s the Sex Pistols’ for their 1991 noteworthy LP ‘Nevermind’.
Lydon stated: “I remember being very angry at their album title being ‘Nevermind’. I thought ”Nevermind’? Have you lost your bollocks or something?’ I was drawing a line on it all, perhaps too sharply”.
He went ahead to state that he's currently understood the enormity of the band: “I have to say ‘Smells Like Teen Spirit’ is one of pop music’s all-time greatest. That song is firmly embedded in my psyche. So, I forgive them. Most bands can’t come up with one complete song, and sometimes one is enough.”
Lydon additionally proposed that he had anticipated Kurt Cobain's demise, saying: "By: “By ‘Heart-Shaped Box,’ it was all starting to sound a bit suicidal. I felt it coming.”
L.A. indie-pop powerhouse Local Natives dropped a new video today for “Dark Days,” the most recent single off their 2016 album Sunlit Youth. The video finds the band in Asia, South America, and the Pacific Islands, messing about in the sunny settings of where they recorded the record a year ago. "Growing up in Southern California, we didn’t have many days without sun,” the band shared with Noisey. “‘Dark Days’ brought to mind good memories of swimming on rainy days and sneaking out to your girlfriend’s house.” Flush with light-releases and sepia-conditioned immersion, the song and video catch the album's slow relaxation as its musicians sit roosted in lofts and its bassist crashes against elated waves.
Look at it underneath.
It’s a cruel Shakespearean twist that Sergei Polunin’s natural gift is actually a burden. In fact, the most talented dancer of his generation had little say in the matter. Forced into training at the age of three, the Ukrainian child prodigy swapped gymnastics for ballet and soon earned comparisons with Rudolf Nureyev. Then, in 2012, Polunin sent shockwaves by quitting the Royal Ballet at 22. It followed a period where he earned – perhaps craved – press attention for all-night partying, erratic tweeting (“Does anybody sell heroin?”) and performing on coke. The natural highs of pirouetting, it seems, weren’t enough.
In Steven Cantor’s probing new film, Dancer, Polunin is introduced via the filthy riffs of Black Sabbath’s “Iron Man”, a knowing wink to the now 27-year-old’s “bad boy of ballet” label. The documentary was intended to be Polunin’s farewell to dance; instead, it inadvertently launched a comeback. When “Take Me to Church” – a music video guest-directed by David La Chappelle for the film – was leaked in 2015, it went viral, amassing what’s currently at 19 million views.
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