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by Diepiriye Kuku

10 Jun 2009

The Thanksgiving scene in the movie version of The Color Purple was a fake out, like Luther Vandross’s false ending on A House is Not a Home. The music slows to a whimper, and Luther chants ever so softly. Then, he brings it on home.

Ella Fitzgerald does the same thing on How High the Moon. In 1966’s The Stockholm Concert with Duke Ellington, Ella performs some of her grittiest skats.

“I guess I better quit while I’m ahead,” Ella lightly croons after what sounds like improv- a dynamic jam session between a stage chock full of greats. Then, the beat drops to a snare and Ella digs in with a real nasty groove.

While the drum drones, Ella is growling and trilling, riffing and ranting like a trombone, two trumpets and a sax together. One can almost imagine her shoulders squeezing and releasing like a tense metronome as the snare races. It’s funkier than the Miles Davis Quintet, and Ella even does a great Miles!

by Joe Tacopino

10 Jun 2009

Pavement’s Mark Ibold joins Sonic Youth on bass as the band give a raucous performance of “Sacred Trickster” off their new, Matador-sponsored album.

by G. Christopher Williams

10 Jun 2009

In James Joyce’s Portrait of the Artist As a Young Man, the titular young artist, Stephen Daedalus, lectures his friend Lynch at length about the nature of the beautiful in art. He argues that when art is apprehended properly that its audience is arrested by a static emotion. By contrast, he refers to “kinetic emotions”, which he deems to be emotions that excite in their viewers desire or loathing. He claims that art that generates such visceral responses are either “pornographical or didactic” in nature.

by Sean Murphy

10 Jun 2009

From yesterday’s New York Times:

On June 9, 1954, Army counsel Joseph N. Welch confronted Sen. Joseph R. McCarthy during the Senate-Army Hearings over McCarthy’s attack on a member of Welch’s law firm, Frederick G. Fisher. Said Welch: “Have you no sense of decency, sir? At long last, have you left no sense of decency?”

by Sachyn Mital

10 Jun 2009

Hailing from Manchester, England—home of The Smiths, Oasis, and New Order plus many, many other artists—Doves gained acclaim in the latter half of the ‘90s after switching from creating electronic to rock oriented music. The first two albums, Lost Souls and The Last Broadcast, each earned prestigious Mercury Music Prize nominations and the third release, Some Cities, was another high caliber work.

Four years later, the trio are touring in support of their newest album Kingdom of Rust, a diverse record with some quieter songs such as “Compulsion” and new influences, like the Spaghetti Western elements in the title track. At this show, the group’s three core members, Jimi Goodwin on bass and brothers Jez and Andy Williams on guitar and drums respectively mostly kept in a triangle while the unofficial fourth member, Martin Rebelski, remained aside at his keyboards.

Showcasing their dynamic songs against a video projection background, Doves tirelessly tore through songs during a 90-minute set with Goodwin barely pausing to address the audience until later on. Opening with “Jetstream”, a song from their new album with subdued vocals and warped electronic effects, built up the crowd’s expectations. Doves followed with “Snowden”, letting Goodwin’s vibrant vocals fill the venue as he inquired, “why should we care?” and the frothing guitar and keyboards reached climax.

Continuing to alternate between a sparser sound and full stadium rock, Doves sandwiched the quieter songs (“Almost Forgot Myself” and “10:03”) between the powerful works (“Pounding” and “Words”). And they pushed the audience into the break on a high; after stomping along to the Motown-tinged “Black and White Town”, pulses quickened on the tense almost frantic “The Outsiders” until finally the guitar-propelled “Caught by the River” bathed everyone in its warmth.

Though this venue has never been acoustically friendly to any artist I’ve seen here, the audience remained receptive despite the muddled sound. So Doves returned for an encore to a crowd applauding for older favorites. Goodwin took a moment to thank New York, as well as their “favorite couple ever” Dennis and Lois, then crooned “The Cedar Room” a slow, steady missive before trading places allowing Andy to sing “Here it Comes”. Doves closed out the night with “There Goes the Fear” as Goodwin and Andy banged away in a Stomp-like percussion frenzy at the end. The crowd, similarly enthused, applauded ardently, letting Doves know they are always welcome on this side of the Atlantic.

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Double Take: 'Butch Cassidy and the Sundance Kid' (1969)

// Short Ends and Leader

"The two Steves at Double Take are often mistaken for Paul Newman and Robert Redford; so it's appropriate that they shoot it out over Butch Cassidy and the Sundance Kid.

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