.for what it's worth.
Every time I listen to this song, I like it a little bit more. The first time I heard it, I liked it, but I knew it was a song I would have to get really used to and that would grow on me. Which is exactly how it’s going.
It’s very catchy, which is a great for a single, especially a first single in over a decade. It feels, to me, like a sort of dance pop song, which isn’t exactly a bad thing, especially because it also has a very distinct reggae beat to it. It feels like No Doubt, which is really what I was hoping for most.
The video itself I LOVE. I love the theme and all the bright colors; again, it feels very much like them. Obviously, my favorite scene was when they met and hugged, especially because that included the four main members, but it also included the horn players Gabe and Stephen. It was definitely an ALL MY EMOTIONS moment.
I also really liked Gwen’s dance scenes, mostly because that felt the most real and the most connected to the song. I think it’s funny, and also brilliant, because that was essentially what Gwen said about the scene and why it was her favorite. Watching the finished product, you can feel that come across during those scenes; it was really well done.
I really cannot wait for this album to come out. September is only a couple months, but it feels like a century right now. [Sidenote: Push And Shove is an excellent album name, let’s just take a moment to appreciate that fact.]
With the video for No Doubt’s first single in roughly ten years to be released this Monday, anticipation is high. I’ve missed this band, and after seeing the sneak peeks and webisodes they’ve been releasing in preparation for it, I’m even more excited to see this video. It looks like a lot of fun, and the band doesn’t look or sound like it’s been years since they last performed together. It seems like they’re just as tight as ever, and come Monday, I hope all the excitement is worth it.
In the meantime, MuchMusic.com posted a list of top 5 favorite No Doubt music videos, so I thought I’d do the same. Watching all their videos again has reminded me of what I love about this band, and further pushed my giddiness for new content into overdrive.
1. Just a Girl
Hands down, the best No Doubt music video of all time, and easily my very favorite. There is so much to love in this video: Gwen’s iconic ’90s look (most importantly, the cropped tops showing off her killer abs); her kick-ass, punk rock, strong female attitude; and the “ladies” and “women” bathroom signs spliced throughout the video. Not to mention the rock-out scene with separated “boy” and girl” moshing until the band members invade the girls and everyone blends together, where there’s a shot of Gwen pushing against a wall as she sings that, for reasons even I’m not entirely sure of, I just love. I also think this may be one of my favorite Tom moments of their videos, especially right around 2:40 of the video where he casually sticks his tongue out in true rock ‘n’ roll fashion.
Plus, from this video alone it’s easy to see why the song, and the video, from their third album Tragic Kingdom (1995) catapulted them into the spotlight and became one of their most well-known, and well-loved, songs.
2. Simple Kind of Life
It’s the beginning and the end that do it for me with this video. Shots of Gwen, with pink hair and wedding dress, running from her tuxedo-ed bandmates (who knock over a crate of oranges - subtle throwback to Tragic Kingdom, perhaps?) pretty much set the video up to be awesome. It’s pulled together near the close of the video. with a shot of Gwen holding a baby and each band member coming up in turn with his hands out, leaving her with a tough choice. “Simple Kind of Life” (from 2000’s Return of Saturn) is not high on my list of favorite No Doubt songs, but the video has a very cool, well-executed concept that fits the song perfectly.
3. Don’t Speak
Famously thought of a song about Gwen and Tony’s romantic split, the video for this song off Tragic Kingdom is very well put together. A highly tense band rehearsal is featured as the main content, mixed with flashback shots of happier practices. When Gwen seems to “plead” with each band member but is given the cold shoulder, it is the icing on this cake. The mood of the song is so well executed, you can’t help but feel the heartbreak too.
4. It’s My Life
Again, it’s not one of my favorite No Doubt songs, but it is a pretty great cover, and the video is iconic. One thing I love about No Doubt videos is that they tend to have Gwen interacting with each band member. Except, in this one, she’s killing them all in different ways: Tom gets off “easy” with poison, poor Tony gets run over, and Adrian - always the naked one - gets electrocuted in the bathtub. Then there’s Gwen in an orange jail jumpsuit with red bra peeking through. The ’20s theme - not to mention the murder trial - makes the video reminiscent of Chicago, which, for me, just adds to the goodness.
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5. Hey Baby
I almost didn’t include this one on the list, but two things changed my mind: 1. The “NO DOUBT” “ROCK STEADY” and “HEY BABY” scribbled in red, black, and white as the background, an instantly recognizable image from the band’s last studio album Rock Steady (2001); and 2. the shots of the band against said background. This video looks like it was a lot of fun to make, and I loved watching the playful interactions between the members, reminding us just how well they work together.
It’s a good weekend to be punk fan and CBGB enthusiast in New York City.
The CBGB Festival kicked off this Thursday, July 5, features music showcases, film showcases, a music conference and film conference, as well as a Spirits Festival to close out the weekend on July 8.
Krist Novoselic kicked off the festival as it’s keynote speaker on Thursday and events have been on a rolling schedule ever since. The line-up consists of 300 unknown bands as well as a few more well-known headliners playing in various venues around Manhattan and Brooklyn. There will even be a free concert in Times Square on July 7!
In true CBGB fashion, much of the news about this festival has been underground, at least from what I’ve heard here in California. The festival, which I heard about a few months ago, seemed to sneak up on me!
From what I’ve read and what I’ve seen, this seems to be a truly unique twist on the festivals we have seen more and more of the past few years. The spirit does seem to mirror that of the former club in that it features mainly unknown or underground artists, as well as re-formations and appearances by CBGB veterans such as those from the surviving Ramone, Tommy and Glen Matlock of the Sex Pistols. Richard Lloyd and Billy Ficca of Television, the first band to play at CBGB, were scheduled to perform as well until illness caused them to cancel. The festival boasts many more acts of CBGB fame, as well as 30 documentary and rock films through two days of the festival.
All of this, I think, sounds unbelievably cool without trying to hard, again in true CBGB spirit. Unfortunately for me, I live all the way across the country in Southern California. If you’re lucky enough to be in New York, however, and you like a little punk rock, you may want to check it out - at least go to the free show in Times Square! Let me know how it is. From where I’m standing it seems pretty exciting, but there’s only so much you can get from news articles and short clips. I have a feeling this is something that needs to be experienced and I really hope that it turns out to be as good as it seems on paper so that perhaps in a few years I will be able to say for myself if the CBGB Festival is the festival to attend.
This video is pretty damn cool. This guy does a history of rock ‘n’ roll through 100 classic guitar riffs, without pause between any of them. He even moves smoothly between songs that use bottleneck slide [like “Seven Nation Army”] and those that don’t, which was impressive to me because he still didn’t miss a beat. It spans the genres, of course, so it’s an eclectic mix of music through the decades. He nails some sweet, and of course very famous, riffs. If you love rock and roll, this video will probably have you weeping tears of joy.
![Abraham Lincoln: Vampire Hunter
Written by: Seth Grahame-Smith (book and screenplay)
Directed by: Timur Bekmambetov
Starring: Benjamin Walker, Dominic Cooper, Anthony Mackie, Mary Elizabeth Winstead
There is one word I can think of to really describe this movie: fun. Now that may sound weird when I’m talking about a movie - and a book - that chronicles our 16th president’s secret double life as a vampire hunter, but it’s true. There’s nothing particularly profound, artistic, or eye-opening about either the book or the film, but they are both action-packed and entertaining. And if Lincoln happens to be your favorite president - well, you’ll either love the story or you’ll hate it, depending on how picky you are about a different perception of history.
I think my favorite aspect of the film was the fact that the author of the book also write the screenplay. A book is like a tender child, especially to the readers, and when it gets handed off to another parent, well … things can get messy. Too often when books become movies, the storyline gets messed with [sometimes necessarily, sometimes to satisfy Hollywood, and almost always to the dissatisfaction of book lovers], but when the author also writes the screenplay it is usually satisfying. For me, that was the case here. Grahame-Smith, as the original ‘parent’ so to speak, knew how to nurture his book into the film it became, and he did it well, at least in my opinion.
The leading actors, mentioned above, all did great jobs with their characters, particularly Benjamin Walker. While none of the performances really blew me away, his got the job done and done well. Dominic Cooper portrayed a bitter vampire - although he isn’t revealed as one, at least not in the film, until halfway through (a change I thought suited the film quite well - again, the author knows best) - quite well also. There was a certain, subtle amount of vulnerability and self-loathing I thought suited the character rather well. Mackie is always entertaining, and Winstead’s performance of Mary Todd draws no complaints from me either. The only thing I might have asked for is a better, more triumphant meeting between her and one of the female vampires.
The graphics are another interesting point about this film, particularly where the vampires themselves are concerned: They appeared to have two jaws. When provoked, what might have been an average-looking person becomes like a screaming ghoul with more than just fangs, but two sets of razor-sharp teeth. It was an interesting take on vampire lore, and one I had not yet seen.
If you’re a history buff, you may enjoy the subtle twists on famous events and people (for instance, vampire participation in the Confederate army, using the Underground Railroad to deliver silver, etc.) that were woven flawlessly into the story. I certainly did. Or you may not, which is understandable too. But if you go in with an open mind, you may at least have fun.
And of course, having been produced by Tim Burton, there is a certain amount of his dark signature present in the film, but it is not as omnipresent as films he directs. It is still clearly Bekmambetov’s film, but there are hints of the Burton themes in the film.
First and foremost, this was an action film. Abraham Lincoln: Vampire Hunter delivers just that with a fun twist of history as well. It wasn’t the best summer movie I’ve seen by any stretch, but I really enjoyed watching it.](http://24.media.tumblr.com/tumblr_m6ebebpORv1rnp9ero1_500.jpg)
Abraham Lincoln: Vampire Hunter
Written by: Seth Grahame-Smith (book and screenplay)
Directed by: Timur Bekmambetov
Starring: Benjamin Walker, Dominic Cooper, Anthony Mackie, Mary Elizabeth Winstead
There is one word I can think of to really describe this movie: fun. Now that may sound weird when I’m talking about a movie - and a book - that chronicles our 16th president’s secret double life as a vampire hunter, but it’s true. There’s nothing particularly profound, artistic, or eye-opening about either the book or the film, but they are both action-packed and entertaining. And if Lincoln happens to be your favorite president - well, you’ll either love the story or you’ll hate it, depending on how picky you are about a different perception of history.
I think my favorite aspect of the film was the fact that the author of the book also write the screenplay. A book is like a tender child, especially to the readers, and when it gets handed off to another parent, well … things can get messy. Too often when books become movies, the storyline gets messed with [sometimes necessarily, sometimes to satisfy Hollywood, and almost always to the dissatisfaction of book lovers], but when the author also writes the screenplay it is usually satisfying. For me, that was the case here. Grahame-Smith, as the original ‘parent’ so to speak, knew how to nurture his book into the film it became, and he did it well, at least in my opinion.
The leading actors, mentioned above, all did great jobs with their characters, particularly Benjamin Walker. While none of the performances really blew me away, his got the job done and done well. Dominic Cooper portrayed a bitter vampire - although he isn’t revealed as one, at least not in the film, until halfway through (a change I thought suited the film quite well - again, the author knows best) - quite well also. There was a certain, subtle amount of vulnerability and self-loathing I thought suited the character rather well. Mackie is always entertaining, and Winstead’s performance of Mary Todd draws no complaints from me either. The only thing I might have asked for is a better, more triumphant meeting between her and one of the female vampires.
The graphics are another interesting point about this film, particularly where the vampires themselves are concerned: They appeared to have two jaws. When provoked, what might have been an average-looking person becomes like a screaming ghoul with more than just fangs, but two sets of razor-sharp teeth. It was an interesting take on vampire lore, and one I had not yet seen.
If you’re a history buff, you may enjoy the subtle twists on famous events and people (for instance, vampire participation in the Confederate army, using the Underground Railroad to deliver silver, etc.) that were woven flawlessly into the story. I certainly did. Or you may not, which is understandable too. But if you go in with an open mind, you may at least have fun.
And of course, having been produced by Tim Burton, there is a certain amount of his dark signature present in the film, but it is not as omnipresent as films he directs. It is still clearly Bekmambetov’s film, but there are hints of the Burton themes in the film.
First and foremost, this was an action film. Abraham Lincoln: Vampire Hunter delivers just that with a fun twist of history as well. It wasn’t the best summer movie I’ve seen by any stretch, but I really enjoyed watching it.
Shame
Directed by: Steve McQueen
Starring: Michael Fassbender, Carey Mulligan
I’ve wanted to see this film since I first hear about it, and I was finally able earlier this week. It was completely moving. It was a very intriguing script - Fassbender’s character, Brandon, deals with sex addiction. His emotionally-broken sister, Sissy (Mulligan), stays with him for a while as they both work through their issues, together and separately. It wasn’t so much a movie driven by plot, or even by the controversial subject matter - it was driven by the characters themselves, and everything else was secondary. It wasn’t beautifully portrayed by the both of them; they showed such raw emotion it was hard not to feel as deeply as they were feeling.
I actually really liked the relationship portrayed between the brother and the sister in this film. The chemistry between Mulligan and Fassbender was exquisite. It was obvious to the viewer that something had happened to them; it was hinted that there might be something between them, but none of it was overdone. What I loved most was the intrigue that surrounded that relationship; we are never told outright what happened, it is up to the viewer to imagine the possibilities themselves. Going along with the mood of this film, I thought that was very, very well done.
Perhaps my favorite aspect of this film, however, was the score. The use of music and silence was refreshingly well-crafted. The first ten minutes are without dialogue, and instead are filled with a big score. There are several spots like that through the film; where words are not needed or insufficient, the music takes over and enhanced the mood of the film.
It’s also worth mentioning that the cinematography of this film was brilliant as well. Nothing was overdone and there were some really artistic, beautifully created shots.
Everything about the film worked together to make Shame a work of cinematic art, at least in my opinion. I highly recommend this film; it needs to be seen.
I read this article in the Times a few days ago and now I have the time to say a few things about it.
I’m … wary. I haven’t entirely decided how I feel about this yet; all feelings I have right now are mixed.
On the one hand, I love keeping the idea of the club and what it stands for alive. I love bringing back the spirit of CBGB’s brand of underground music.
But as a music festival? I don’t know. It seems like festivals are really the ~trendy thing to do right now, which in itself kind of goes against everything CBGB. I have nothing against festivals and their current popularity, but I don’t know if I like the idea of the CBGB name jumping on that bandwagon.
Then again, from what little I read of the festival in this article, it does seem unique. Rather than one large valley, it will be in various clubs and bars around New York City, and there was even mention of a FREE show in connection with the festival. I really like the idea of that, of celebrating new music in venues similar to what CBGB used to be and having it be more like venue hopping. And to have CBGB be the brand of this new kind of model does seem fitting.
As for re-opening the club in a new location … I think that’s stretching it, but I can still see some light on the other side. I’m not completely turning my nose up at it, but at this point I do sort of feel that the club itself, in my opinion, should stay as it was, the way people remember it. However, at the end of this article, the new investors did say that they don’t want the new club to be a museum for tourists; that they want to re-vamp what the club used to be and make the new venue a hot spot in it’s own right. I think the sentiment is good, but I’m really not sure they will be able to avoid it becoming a tourist attraction.
In any case, I’m keeping an eye on this story. I want to see how it unfolds as I create more concrete opinions.
I just watched Rob Zombie’s 2007 remake of Halloween, and I do have to say I liked it.
I saw the original 1978 film (starring Jamie Lee Curtis in her first film) directed by John Carpenter before, and I’ll also say that, as slasher films go, Halloween is of the few I like (I’m also a fan of A Nightmare on Elm St., but the Friday the 13th movies are more comical than anything else, to be honest).The suspense Carpenter brought to Halloween was one thing I thought all other slasher films lacked; it’s the main reason I liked the film so much.
I know that generally, critics tend to dislike re-makes (and yet still, re-makes are Hollywood’s favorite type of movies), especially of horror films, and I know that reviews for this particular re-make we mixed. However, at least for me anyway, Zombie’s interpretation had a few things going for it that the original film lacked, particularly in the first half of the film (which seems to be the general consensus regarding this film anyway).
To be honest, I thought the first half of Zombie’s film was rather brilliant. Michael Myers is stripped down and then dissected, explained in ways he never was in the original film. Perhaps that was part of Carpenter’s vision - leaving Myers’ motives vague, and thus supposedly heightening the suspense and fear factor - but it wasn’t something I really liked. It never made sense, to me, why Myers killed his sister in the beginning, why he follows Laurie throughout most of the film. Both questions were answered by Zombie’s re-interpretation in ways that made sense; watching this film made everything click into place in my mind. I understand Myers as a villain, and to an extent I sympathize with Michael the child, which I’m sure is what Zombie intended. By showing a lot more of his childhood, Zombie brought back Myers humanity at least slightly, and reminded the viewer that at least one point, he was just a bullied kid from a broken home.
It was effective; personally, I like Myers as a villain more now that he doesn’t seem entirely like a zombie killing-machine. Ultimately, each brutal act throughout the rest of the film chips away at any sympathizing feelings viewers might have felt for Myers, and thus the blood and gore that is to be expected of a slasher film surfaces once again. The rest of the film seems to follow the general story-arc that is common among these films: Mindless, soulless killers preying on sexually expressive teens; the killers themselves are apparently immune to any weapon brought against him (this is particularly ridiculous in the Halloween films considering Myers is supposedly just a (admittedly psychopathic) man who breaks out of a mental institution after 15 years - there is nothing that should be supernatural or unbreakable about him, and yet he survives stabbings, bullets, falls, and other things that would kill any other man). It is therefore the last half of the film that Zombie slips back into this story-line and where for me, at least, it began to get less interesting or novel.
I will say, however, that one aspect I appreciated about the whole film, and particularly the last half, was that the suspense was never truly lost. Perhaps Carpenter held it better, sure, but it cannot be said that Zombie’s film lacked that substance.
All in all, I still like both the ‘78 and ‘07 versions; they both have their flaws and re-deeming qualities, but as slasher films they still hold as some of the best, in my humble opinion.
![Jack White’s debut solo album hit stores worldwide today, which coincided perfectly with my finally having the time to sit down and listen to it from start to finish.
Jack White, in my opinion, is an incredible artist. From The White Stripes, the Raconteurs, and The Dead Weather to guest appearing with the likes of blues-rock heavyweights like The Rolling Stones and Jimmy Page, White has yet to disappoint me. White is a skilled musical craftsman, both as an artist and producer, and ever since I heard he was releasing solo work I’ve been anticipating it.
Let me state first: Blunderbuss is a great album. White continues to bring the blues riffs and country-soft songs he’s well known for, and he does it with the skill to which his fans have grown accustomed. There are certainly some well-executed rock songs, such as singles “Sixteen Saltines” and “Love Interruption,” as well as “Missing Pieces,” the album’s killer opener.
Yet I find that, on some level, Blunderbuss sort of underwhelms me. The main reason for this, I think, is because as a cohesive collection of songs, it doesn’t hit me hard. Rather, the first half of the album delivers a powerful punch that tapers off into the rest of the work, sprinkled with tunes like “I’m Shakin’” (the only cover on the album, this is originally a Little Willie John song) and the piano-driven “Hip (Eponymous) Poor Boy” that break the surface again intermittently, though not with the force that the first few songs seem to do.
It’s very easy to see why “Sixteen Saltines” and “Love Interruption” were the two singles off the album. They’re easily the most pop-sensible tracks, but they’re also, in my opinion, a couple of the best works off the album.
“Sixteen Saltines” delivers the fuzzy, splintering distorted guitar rock I’ve come to love from Jack White, not to mention an infectious hook, “Who jealous? Who’s jealous? Who’s jealous? Who’s jealous of who?” laid over a catchy repeated guitar line. White displays his shred skill in this song as well, as the background for the second time the above hook is repeated. The drums deliver a steady, pounding beat that drives the song really well.
“Love Interruption” is a quieter song that nonetheless “[walks] right up and [bites].” The lyrics, riddled with vibrant imagery, are haunting, both gentle and harsh, and they sink into your heart and hit home like the knife featured within them. Ruby Amanfu’s enchanting voice provides a perfect mirror to White’s soft vocals; together they put forward a song that sounds innocent on the surface but whose lyrics paint a much darker image of love. Simple acoustic guitar over a more orchestrated, lilting background add to the aching effect.
The other stand-out song, for me, was song that opens the album, “Missing Pieces.” After a few seconds of repeated keyboard that slows and leaves the listener teetering on the edge, the first lyrics of the album, “I was in the shower/So I could not tell my nose was bleeding,” deliver the final push into a song that doesn’t quit. The instrumentation here, the balance between the distorted guitar and the keyboard, was well-done.
The album itself is really a collection of three-minute, radio-friendly rock pieces. Most of the songs range from just under three-minutes to just over four; none of them break the five-minute mark. All in all, it is an album that is definitely worth a listen or two, and if nothing else the stand-out tracks are worth buying. With this, along with work from The Black Keys, The Kills, and others, garage-rock blues seems to be rising into the greater music consciousness once again.](http://24.media.tumblr.com/tumblr_m30j8kREAQ1rnp9ero1_500.jpg)
Jack White’s debut solo album hit stores worldwide today, which coincided perfectly with my finally having the time to sit down and listen to it from start to finish.
Jack White, in my opinion, is an incredible artist. From The White Stripes, the Raconteurs, and The Dead Weather to guest appearing with the likes of blues-rock heavyweights like The Rolling Stones and Jimmy Page, White has yet to disappoint me. White is a skilled musical craftsman, both as an artist and producer, and ever since I heard he was releasing solo work I’ve been anticipating it.
Let me state first: Blunderbuss is a great album. White continues to bring the blues riffs and country-soft songs he’s well known for, and he does it with the skill to which his fans have grown accustomed. There are certainly some well-executed rock songs, such as singles “Sixteen Saltines” and “Love Interruption,” as well as “Missing Pieces,” the album’s killer opener.
Yet I find that, on some level, Blunderbuss sort of underwhelms me. The main reason for this, I think, is because as a cohesive collection of songs, it doesn’t hit me hard. Rather, the first half of the album delivers a powerful punch that tapers off into the rest of the work, sprinkled with tunes like “I’m Shakin’” (the only cover on the album, this is originally a Little Willie John song) and the piano-driven “Hip (Eponymous) Poor Boy” that break the surface again intermittently, though not with the force that the first few songs seem to do.
It’s very easy to see why “Sixteen Saltines” and “Love Interruption” were the two singles off the album. They’re easily the most pop-sensible tracks, but they’re also, in my opinion, a couple of the best works off the album.
“Sixteen Saltines” delivers the fuzzy, splintering distorted guitar rock I’ve come to love from Jack White, not to mention an infectious hook, “Who jealous? Who’s jealous? Who’s jealous? Who’s jealous of who?” laid over a catchy repeated guitar line. White displays his shred skill in this song as well, as the background for the second time the above hook is repeated. The drums deliver a steady, pounding beat that drives the song really well.
“Love Interruption” is a quieter song that nonetheless “[walks] right up and [bites].” The lyrics, riddled with vibrant imagery, are haunting, both gentle and harsh, and they sink into your heart and hit home like the knife featured within them. Ruby Amanfu’s enchanting voice provides a perfect mirror to White’s soft vocals; together they put forward a song that sounds innocent on the surface but whose lyrics paint a much darker image of love. Simple acoustic guitar over a more orchestrated, lilting background add to the aching effect.
The other stand-out song, for me, was song that opens the album, “Missing Pieces.” After a few seconds of repeated keyboard that slows and leaves the listener teetering on the edge, the first lyrics of the album, “I was in the shower/So I could not tell my nose was bleeding,” deliver the final push into a song that doesn’t quit. The instrumentation here, the balance between the distorted guitar and the keyboard, was well-done.
The album itself is really a collection of three-minute, radio-friendly rock pieces. Most of the songs range from just under three-minutes to just over four; none of them break the five-minute mark. All in all, it is an album that is definitely worth a listen or two, and if nothing else the stand-out tracks are worth buying. With this, along with work from The Black Keys, The Kills, and others, garage-rock blues seems to be rising into the greater music consciousness once again.
I’m doing a research paper for my American Studies Pop Culture class on fans of Led Zeppelin, so if you could PLEASE take a few minutes fill out my survey I would really appreciate it! Thank you!
http://app.fluidsurveys.com/surveys/nikki-K/led-zeppelin-fandom/
