Music

CONTEST: Sara Bareilles Headlines the New Backstage Pass Artist Series

POPMATTERS SPONSOR

Tone® is turning up their Backstage Pass Artist Series by teaming with Grammy-nominated artist Sara Bareilles. From live chats and an online tour diary to backstage meet and greets, Tone® is giving consumers all out, exclusive access to Bareilles while she's on tour this summer for her current album, Kaleidoscope Heart. A fan, plus a friend, will win the Tone® Body Wash Ultimate Backstage Pass, an all-expenses paid trip to New York City for a private picnic in the park with Sara prior to her show on August 31.

ENTER THE CONTEST

The Tone® Body Wash Ultimate Backstage Pass prize includes roundtrip airfare for two to New York City, hotel accommodations, $1,000 in spending cash, two vino-therapy spa treatments and a once in a lifetime experience to meet Sara Bareilles –- an exclusive picnic in the park before her show in Central Park.

"The Backstage Pass Artist Series is amazing! I'm thrilled to have been invited to be a part of it," said Sara Bareilles. "Tone® Body Wash is creating an opportunity for me to connect with my fans in a way that I have never done before. As an artist, I'm constantly humbled and inspired by my fans. They are the reason I do what I do. The Backstage Pass Series is a wonderful way for my fans and I to have a unique, personal experience getting to know each other. I think it will be really special. I can't wait."


About Tone®

This year, Tone® brand introduced a fresh variant to their line of spa-inspired body washes, Tone® Vino Moisture with Crushed Grape and Shea Butter. With luxurious ingredients inspired by the latest spa trends, Tone® body washes offer a "top-shelf" experience at an affordable price. Through the spa-inspired line, Tone® brand aims to support and give a voice to independent, young women who make every day more fabulous than the last.

Cover down, pray through: Bob Dylan's underrated, misunderstood "gospel years" are meticulously examined in this welcome new installment of his Bootleg series.

"How long can I listen to the lies of prejudice?
How long can I stay drunk on fear out in the wilderness?"
-- Bob Dylan, "When He Returns," 1979

Bob Dylan's career has been full of unpredictable left turns that have left fans confused, enthralled, enraged – sometimes all at once. At the 1965 Newport Folk Festival – accompanied by a pickup band featuring Mike Bloomfield and Al Kooper – he performed his first electric set, upsetting his folk base. His 1970 album Self Portrait is full of jazzy crooning and head-scratching covers. In 1978, his self-directed, four-hour film Renaldo and Clara was released, combining concert footage with surreal, often tedious dramatic scenes. Dylan seemed to thrive on testing the patience of his fans.

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Inane Political Discourse, or, Alan Partridge's Parody Politics

Publicity photo of Steve Coogan courtesy of Sky Consumer Comms

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"I evolve, I don't…revolve."
-- Alan Partridge

Alan Partridge began as a gleeful media parody in the early '90s but thanks to Brexit he has evolved into a political one. In print and online, the hopelessly awkward radio DJ from Norwich, England, is used as an emblem for incompetent leadership and code word for inane political discourse.

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To be a migrant worker in America is to relearn the basic skills of living. Imagine doing that in your 60s and 70s, when you thought you'd be retired.


Nomadland: Surviving America in the Twenty-First Century

Publisher: W. W. Norton
Author: Jessica Bruder
Publication date: 2017-09
Amazon

There's been much hand-wringing over the state of the American economy in recent years. After the 2008 financial crisis upended middle-class families, we now live with regular media reports of recovery and growth -- as well as rising inequality and decreased social mobility. We ponder what kind of future we're creating for our children, while generally failing to consider who has already fallen between the gaps.

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Gallagher's work often suffers unfairly beside famous husband's Raymond Carver. The Man from Kinvara should permanently remedy this.

Many years ago—it had to be 1989—my sister and I attended a poetry reading given by Tess Gallagher at California State University, Northridge's Little Playhouse. We were students, new to California and poetry. My sister had a paperback copy of Raymond Carver's Cathedral, which we'd both read with youthful admiration. We knew vaguely that he'd died, but didn't really understand the full force of his fame or talent until we unwittingly went to see his widow read.

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