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by William Carl Ferleman

4 May 2011


Lady Gaga recently performed her latest single, “Judas”, on Ellen. This must have been something of a scandal for William Donohue, Catholic League President and aspiring music journalist. Music fans had to hear his drivel just prior to Easter Sunday in The Daily Mirror: “She is trying to rip off Christian idolatry to shore up her talentless, mundane and boring performances.” (For the record, Lady Gaga is Catholic herself.)

No, sorry, Mr. Donohue, the actual scandal on Easter Sunday was the fact that Catholics, thanks to Maureen Dowd, had to read about a former bishop in Belgium who admitted to child abuse and, too, that during John Paul’s tenure, he apparently turned the other cheek when it came to pedophilia within the priesthood. And Lady Gaga’s performances are not boring.

by Jessy Krupa

4 May 2011


CSI: Miami

Holiday specials and special events took over the airwaves.

Of the major networks, ABC aired the most holiday specials, including Santa Claus Is Comin’ to Town, Disney’s Prep & Landing, A Charlie Brown Christmas, Mariah Carey’s Merry Christmas To You, I Want a Dog for Christmas, Charlie Brown, Dr. Seuss’ How the Grinch Stole Christmas, Shrek the Halls, Rudolph’s Shiny New Year, Happy New Year, Charlie Brown and Dick Clark’s Primetime New Year’s Rockin’ Eve With Ryan Seacrest. Next up was CBS, with Frosty the Snowman, Frosty Returns, The Flight Before Christmas, Yes, Virginia, and The 12th Annual a Home for the Holidays special. NBC, meanwhile held the rights to the classic It’s a Wonderful Life and the annual Saturday Night Live clipshow.

 

by Alan Ranta

3 May 2011


Since 2009, Asthsmatic Kitty has been quietly issuing installments in the Library Catalog Music series. With this series, the home of Sufjan Stevens, Jookabox, Fol Chen, and many other genre-bending freak pop artists has easily maintained its standing on the cutting edge of contemporary independent music. Case in point, the label handed the keys to their catalog over to young Jib Kidder, also known as California A/V artist Sean Schuster-Craig, who promptly turned around and reconstituted microsamples of dozens of tracks into stunning new glitch-hop compositions using just a turntable, editing, and respatializing EFX (i.e., reverb, delay). These works are much closer to warm and funky side of Prefuse 73 and Daedelus than the overhyped ADD of Girl Talk. Going one further, Jib made a video for “Blue” also from existing label materials. Suffice to say, Asthmatic Kitty is still at the top of its game. May the Library Catalog Music series never end.

by Timothy Gabriele

3 May 2011


This is probably more of a promo than an actual video as it does truncate the original song, leaving it feeling a bit incomplete. Maybe this teaser though will be enough to hep you to LuckyMe’s Jacques Greene though. For all the sensuality inherent in two-step/future garage, Greene may be the only one openly trying to be the scene’s Sebastian Tellier. From his excellent EP titled The Look, the “Tell Me” video features plenty of women giving “the look”, either seductively or longingly or cathartically. Like the song, it’s relatively simple, but far from dull. Tell me what you like? This, please. Oh, and Greene has already released another EP featuring remixes of The Look EP and a great new song called “Another Girl”.

by Cynthia Fuchs

3 May 2011


Like so many faces that look back in so many documentaries, those in A Film Unfinished indicate the subjects’ awareness of their status as such. And as they gaze back at the camera, they are also silent, like all of “Das Ghetto,” an unfinished Nazi propaganda film discovered in an East German vault during the 1950s. Yael Hersonski has reassembled much of that footage for her film, which premieres 3 May on PBS. Some of it is observational and some staged by the German film crew, and Hersonski cuts it alongside readings from diaries and transcripts, as well as shots of ghetto survivors watching that footage. Comprised of more faces, shadowed in a theater, these shots serve as vivid reflections of your own experience, horrified at what they see. And what they see exemplifies one of the most chilling aspects of the Third Reich, “an empire infatuated with the camera,” narrates Rona Kenan, “that knew so well to document its own evil, passionately, systematically, like no other nation before it.”

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