In addition to being one of the coolest writers around, an expert in everything from jazz, to death metal, to Ween, Hank Shteamer is the drummer and vocalist for Brooklyn band STATS. As it so happens, the band is as eclectic as Shteamer’s musical taste, a wildy creative mishmash of Melvins-derived sludge and Beefheart-esque experimentation. Massively heavy but showing a progressive nimbleness that you don’t exactly hear in sludge/noise-oriented bands, the band’s debut album makes for an absurdly delightful listening experience.
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“Man is always prey to his truths. Once he has admitted them, he cannot free himself from them.”
In a scene near the end of Michael Curtiz’, 1942 classic movie Casablanca, the main protagonist Rick Blaine (Humphrey Bogart) meets with Captain Louis Renault (Claude Rains), in a scene that ultimately sets up the end of the movie. Dissected from the rest of the film, this scene seems rather improbable: Rick proposes a scheme that requires the buy in of other players. This is, of course, totally and completely irrelevant to the plot, and yet leads into one of the best and most quotable final scenes in film history.
Indeed, the plot of Casablanca was just a necessary element to allow the characters to react to each other. Episode seven of season two of True Detective, “Black Maps and Motel Rooms”, serves the same function. Writer Nic Pizzolatto needs to merge as many of his loose strings together as possible to lead into the season finalé.
Joseph Losey’s feature debut, The Boy With Green Hair aroused attention because it was such a peculiar little socially-conscious fable, emerging as it did during Dore Schary’s brief, adventurous span as head of RKO, and in a period when postwar Hollywood was releasing more or less heavy-handed message pictures on racial and ethnic prejudice.
The opening scene gives a shock reveal: a bald little boy in a police station. This is Peter (Dean Stockwell), an ordinary American lad whose parents were killed in London during WWII, during which the film is set. In flashback, he tells a friendly doctor (Robert Ryan) about how he got shuffled among various relatives until he came to live with “Gramps” (Pat O’Brien), a singing waiter who’s actually no relation to him. Apparently social services were very informal back then, especially in movies. Gramps may not have any legit claim, but he showers the kid with Irish-accented blarney and even gets a fantasy musical sequence with co-star Walter Catlett.
It has an inventive build-up, with its DIY quality and dazzling timbres making it consistently mysterious and engaging. Vocally and melodically, Beal evokes his soulful forefathers, which, when done right, is more difficult than it seems. It reminds me a bit of certain tracks from Plastic Beach by Gorillaz, actually. It’s a bit too sparse, though, since Beal’s voice deserves a more luscious arrangement. The contrast between his robust delivery and the limited composition is part of the intrigue, though, so yeah, I’m a bit torn on this one.—JORDAN BLUM (7/10)
When The Daily Show debuted in 1996, there was little to suggest what it would become. Despite the desires of creator Lizz Winstead, both the Comedy Central execs and host Craig Kilbourn set a tone for the series that was more a parody of infotainment and less a trenchant satire of modern news media.
// Channel Surfing
"Series creator Nic Pizzolatto constructs the entire season on a simple exchange: death seems to be the metaphysical wage of knowledge.READ the article