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by Crispin Kott

11 May 2011


Let’s say you knew nothing more about the Hamptons than the area’s tabloid reputation as a vacation destination for rich white people doing the kinds of things rich white people do on shows like Gossip Girl and Royal Pains. If either of those shows had a music festival headlined by real-life actual artists, the headliners would be Vampire Weekend and Bright Eyes, right? Of course they would.

The inaugural MTK (Music to Know) Music Festival just released its real-life actual lineup, and sure enough, the headliners are Ivy League yuppiebeat progenitors Vampire Weekend and Conor Oberst’s Bright Eyes, who eight years ago appeared on the yuletide soundtrack to the distant cousin of Hamptons-based TV shows, The O.C..

by John Bergstrom

11 May 2011


Depeche Mode frontman Dave Gahan’s dealings with drug addiction have been well-documented. Last week, though, Gahan, who has been clean for over a decade, was honored for using his experiences to help others.

On May 6 at the MusiCares MAP concert, Gahan received the Stevie Ray Vaughan Award for his support of the charity, which helps out musicians who are recovering addicts.

Gahan performed a short set of covers, then was joined by bandmate Martin Gore for Depeche Mode’s classic “Personal Jesus”—itself a song inspired by Priscilla Presley’s support of Elvis during his substance-abusing years. 

Here, on Joy Division’s “Love Will Tear Us Apart”, Gahan summons an eerily affecting invocation of the late Joy Division frontman Ian Curtis. Peter Hook, eat your heart out!

by PopMatters Staff

10 May 2011


Vieux Farka Touré is one of Africa’s most widely respected young musicians around the world. The son of the late Ali Farka Touré, the Malian guitarist and singer is about to release his third studio album, The Secret, on 24 May via Six Degrees Records. Soulive’s Eric Krasno produced the record, which features collaborations with Derek Trucks, Dave Matthews, John Scofield, Ivan Neville, as well as most notably and Touré final collaboration with his father. Of The Secret, Touré says, “To make this album I had to dig deep into the secrets of my own history and my country’s culture in order to move the music forward. My music is more mature now, more evolved. It digs deeper into the past and pushes harder into the future as a result.” Today, we present the online premiere of “Aigna”, which features the guitar licks of Derek Trucks. You can check out all the tunes come May 24th and at one of Touré‘s upcoming gigs (listed below).

by Matt Mazur

10 May 2011


Laura Dern ... Inland Empire

Oscar Nominees:

Penelope Cruz ... Volver
Judi Dench ... Notes on a Scandal
Helen Mirren ... The Queen
Meryl Streep ... The Devil Wears Prada
Kate Winslet ... Little Children

Mazur Nominees:

Maggie Cheung ... Clean

 

 

by Cynthia Fuchs

10 May 2011


When Benazir Bhutto was assassinated on 27 December 2007, her family was horrified but not altogether shocked. Indeed, they believed she was never quite safe in her homeland, Pakistan. According to Duane Baughman and Johnny O’Hara’s documentary, premiering 10 May on PBS, hers was a life of tumult and tragedy: for all her commitment to public service—elected twice to be Pakistan’s Prime Minister—she also felt compelled by a kind of destiny. In addition, Educated at Harvard and Oxford, a woman of great intellect and expectations, she was picked by her father, Zulfikar Ali Bhutto, to succeed him as political heir (this being a departure from Muslim tradition, to hand down legacies to sons). Bhutto agreed to an arranged marriage as a means to navigate her career, only to have her husband Asif Ali Zardari, spend 11 of their 17 years as man and wife in prison. Indeed, she also spent many years in detention, as Pakistani military leaders sought ways to contain her. Sorting through Pakistan’s remarkably complex history, replete with strife, violence, and corruption, the movie posits Bhutto as a devoted mother as well as an embodiment of democracy—and so, hope and freedom. Her energy and persistence are revealed in archival interviews, adoring crowd scenes, and haunting images of her white scarf blowing in the wind. These conventional visuals are punctuated by lively music soundtrack choices (including Cat Stevens, now Yusuf Islam) as well as animated maps and other graphics, insisting on Bhutto’s unusual ability to cross borders, between past and present, east and west, personal and political.

//Mixed media
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