Johnny Marr + The HealersCity: Chicago
Venue: House of Blues
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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.
Very few of their peers surpass Eurythmics in terms of artistic vision, musicianship, songwriting, and creative audacity. This is the history of the seminal new wave group
The Rock and Roll Hall of Fame nominating committee's yearly announcement of the latest batch of potential inductees always generates the same reaction: a combination of sputtering outrage by fans of those deserving artists who've been shunned, and jubilation by fans of those who made the cut. The annual debate over the list of nominees is as inevitable as the announcement itself.
Barry Lyndon suggests that all violence—wars, duels, boxing, and the like—is nothing more than subterfuge for masculine insecurities and romantic adolescent notions, which in many ways come down to one and the same thing.
2001: A Space Odyssey (1968) crystalizes a rather nocturnal view of heterosexual, white masculinity that pervades much of Stanley Kubrick's films: after slithering from the primordial slime, we jockey for position in ceaseless turf wars over land, money, and women. Those wielding the largest bone/weapon claim the spoils. Despite our self-delusions about transcending our simian stirrings through our advanced technology and knowledge, we remain mired in our ancestral origins of brute force and domination—brilliantly condensed by Kubrick in one of the most famous cuts in cinematic history: a twirling bone ascends into the air only to cut to a graphic match of a space station. Ancient and modern technology collapse into a common denominator of possession, violence, and war.
What makes Call Be By Your Name stand out from the films it will be compared to (Brokeback Mountain, Moonlight) is Guadagnino's play on juxtapositions, which go much deeper than merely an angsty teen with an introspective soul.
If you're a 17-year-old boy sorting out your sexuality, there has to be worse place to do it than the Northern Italian landscape of writer-director Luca Guadagnino's latest drama, Call Me By Your Name. It's 1983 and Elio Perlman (Timothée Chalame) is the classic case of what psychologists call a social introvert: While flirting with a French girl in the countryside lake, he charms with a bad-boy air -- he's capable of passing as an extrovert and much more -- but he's obviously much more in his element alone. The summer days find him composing piano concertos by the family's pool or riding his bike through rural roads. His contradictions, broody but introspective, are seductive, much like the famed "bad boy" ballet dancer Sergei Polunin, who was arguably the most prolific dancer of his generation but broke high-culture norms by tattooing his torso and making tabloids with his late-night party-boy antics.
There's a refreshing straightforwardness to Leila Gobi's music on new album 2017. Opening track "An Nia" begins with the quick, high-pitched guitar patterns that have become so integral to exported Malian pop, forming melodic loops that Gobi's nasal voice shoots through like a joyful arrow. The whole album follows suit, with thin electronics framing Gobi and her backup singers in repetitive dance tracks that are often minimal in texture but constantly pumping up the volume and energy.