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bobdylanrevisited · 4 years ago

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Blood On The Tracks

Released: 20 January 1975

Rating: 10/10

Often regarded as Dylan’s greatest album, and potentially the greatest album of all time, it’s hard to disagree. Released on Columbia Records following Bob starting a relationship with an employee whilst his marriage to Sara was crumbling following the 1974 tour, the record is actually two different recording sessions. One was in New York, with a much more mellow feel, the other was in Minneapolis with a backing band, following Dylan’s brother stating that the New York songs sounded too similar. Whilst the original recordings are available on the Bootleg Series Vol. 14: More Blood, More Tracks, and are fucking fantastic in their own right, the final product is a thing of inconceivable genius. It’s an album that perfectly captures the turbulence of divorce, love, longing, and self reflection, and is easily the most beautifully written collection of songs ever released.

1) Tangled Up In Blue - Once again, Bob opens the album with one his best ever compositions. A non-linear tale of love and loss which would rival the postmodern writing style of Kerouac and Ginsberg. The story he tells here is both sweet and tragic, filled with nostalgia and longing for a companion. Potentially partially biographical in nature, the lyrics are among his very best, relatively simple at face value, but filled with references and meaning that could take a lifetime to fully digest. His voice continues to sound more mature and even quite commercial, though his brilliant nasal twang is still present, particularly when he hits the title line. This Minneapolis version is astonishing, it may be the perfect song, though the slower and more chilled out New York recording is equally as brilliant. Although for me the defining performance is the one found on his 1984 live album ‘Real Live’, which completely alters most of the lyrics, something Bob carries on doing to this day.

2) Simple Twist Of Fate - A beautiful track about the cruel nature of fate and losing a soul mate. The song talks of the life cycle of a relationship, through metaphor and abstract imagery that wouldn’t be amiss on ‘Blonde On Blonde’, and feels like a dream sequence that ends with waking up alone and confused. The walking bass in the background and soft acoustic strumming create a relaxed and almost floaty tune that only elevates the vivid lyrics. As this is the ‘divorce’ album, the song ends with the lover being gone and Dylan deep in regret, and whilst he says this record is based on the work of Chekhov, I believe this is how Bob viewed and dealt with his separation. Sara came into his life through fate, and he let her slip through his fingers, it’s a moving song that is drenched in a need to understand the confusing and painful side of love.

3) You’re A Big Girl Now - Bob is begging for forgiveness here, promising to change and asking to be taken back as he sings through tears. I do take issue with the idea of Bob saying it pains him to see Sara walking away from him given his infidelity, however he does accept that it is entirely her decision and he is pleading his case. Ultimately, despite the brilliant performance Bob gives of desperation and pain, along with some great piano and guitar playing from his band, I do think this is the weakest song on the album due to the lyrics bordering on self pitying. It’s still a great song, I just don’t think Dylan comes across the best here. The rest of the record focuses on either anger, sadness, or regret, whereas here it seems he’s focusing on himself and almost being absolved of his own wrongdoings.

4) Idiot Wind - Though Bob claims this isn’t about the causes of the breakdown of his marriage, I think we all can take that to mean that it definitely is. It also happens to be the best song on the album, Bob is snarling his way through an epic poem of accusations and falsehoods, betrayal and bitterness. It harks back to his finger pointing songs of 10 years earlier, and it doesn’t hold punches against the press and those who had been circulating rumours about both him and Sara. It’s fucking amazing, Bob sounds genuinely enraged and yet also confused at the exaggerated actions he’s having to defend or downplay. Not only are the lyrics both chaotic and fascinating, the organ playing is superb. Throughout the 7:47 minute song, every time Bob sings ‘Idiot Wind’ it’s like a direct insult to those who meddled in his relationship, as well as another nail in the coffin of his once happy marriage.

5) You’re Gonna Make Me Lonesome When You Go - It’s been argued as to whom was making Bob lonesome, is it Sara or his Columbia girlfriend? Either way, it’s quite a happy sounding song that’s actually a heartbreaking tale of loss and reluctance to accept life moving on. Bob invokes the poets Verlaine and Rimbaud’s turbulent relationship, with Bob very much being the Rimbaud of the 20th Century, to describe the breakdown of love and happiness leading to feeling alone and self-reflection. As with the whole album, the backing band sound great alongside Bob’s relaxed vocal style and joyous harmonica, and the song creates a tragic feeling of putting on a brave, upbeat facade as life goes on. It’s undeniably becoming much sadder and, as the title suggests, much more lonesome, but Bob attempts to carry on and learn from his mistakes. It’s a hard message to convey in under 3 minutes, but Bob’s pained and honest writing from this period manages it perfectly.

6) Meet Me In The Morning - Musically, this is the best song on the album. All the instruments have a brilliant bluesy feel to them, and Dylan’s voice matches this style, with his nasal tone elongating phrases and making him sound like the blues singers of old. From what I can gather, the protagonist of the song is asking his lover to a rendezvous, but waits from dawn to dusk with no appearance from her. Throughout the song he wishes they could be elsewhere, and compares his love and longing to the darkness of the night and the setting of the sun. It’s a difficult song to unpack as Dylan is the master of mysterious and metaphorical storytelling, but understanding every line really doesn’t matter here. The song itself is a joy to listen to, proving that Dylan shouldn’t just be applauded for his lyricism, but also his ability to compose and record with various musicians to achieve a specific and memorable sound.

7) Lily, Rosemary And The Jack Of Hearts - I’ll quickly mention that Dylan and his harmonica sound amazing on this song, as do the backing band who evoke the sound and atmosphere of the cabarets of old. However, it would be impossible to do the lyrics to this song justice in one small paragraph. This song is the ‘Desolation Row’ of the album, a sprawling epic poem featuring a host of characters in various criminal and romantic encounters. It’s an incredible piece of work, more interesting and exciting than most of what we see on the silver screen. I urge you to fully immerse yourself into the world Dylan creates here, as for nearly 9 minutes, he and his band weave a perfect story worthy of Homer.

8) If You See Her, Say Hello - This song reminds me of ‘Girl From The North Country’. It’s about passing on well wishes to a former lover, letting them know you’re still thinking about them, even though they’ve left your life and moved on. The lyrics are heartbreaking, as Bob remarks that the love still burns within him, but he wants to ensure this information isn’t passed on to her. A brilliantly moving and desperate song once again, with another beautiful backing arrangement and a pained voice longing to rekindle what he has lost.

9) Shelter From The Storm - A love song that focuses on being saved, clearly Bob is talking about Sara and his needing to be rescued from the hurricane of fame, drugs, and parting of 1965 when they met. It’s a romantic story featuring religious imagery, showing Bob’s true feelings towards how he viewed himself and the period of life that was now being ripped apart by his actions. The near angelical way he describes Sara, and his ending thoughts on how he still feels about her nurturing and caring personality, are a far cry from some of the earlier tracks on the album, but this feels like perhaps the most personal song on the record. The stripped back instrumentation allow the bittersweet lyrics to take centre stage, with Bob again sounding much more mature and accessible with his relaxed vocal style. Whilst this version is incredible, I��d also recommend the live 1976 recording on ‘Hard Rain’. The song is much rockier, Bob barks the lyrics, and it sounds fucking brilliant.

10) Buckets Of Rain - The album closes with a genuinely lovely track, both simple and sweet as it addresses a lover. The melody is delicate and Dylan’s singing is soft and full of warmth. There’s not much else to say about this beautiful song, other than it feels like Bob showing us that there is light at the end of the tunnel, and that everything will work out in the end.

Verdict: I could happily just listen to this album until the day I die. If Dylan going electric is the most important musical moment of the 1960s, then this release is the 1970s equivalent. It’s pure art, it captures a feeling most struggle to internally process, let alone articulate in such a poetic and moving way at only 33 years old. The lyricism on this one record alone proves Bob is the greatest poet of the 20th Century. Even the outtakes from this album, especially ‘Up To Me’, are better than most artists creative peak. This may be Dylan’s most personal record (despite his insistence that it is not autobiographical), and I imagine it will be studied for centuries to come as his magnum opus. In typical Bob style, he would bizarrely head out on an exhaustive tour called the ‘Rolling Thunder Revue’, playing at small venues with a band that resembled a circus show, whilst his family life continued to disintegrate. But before he managed to capture the spirit of these carnival-esque performances, he gave permission for some mythical recordings from 1967 to finally be released.

#bob dylan #blood on the tracks

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ahouseoflies · 5 years ago

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The Best Films of 2019, Part III

Part I is here. Part II is here.

PRETTY GOOD MOVIES

80. Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (Martin Scorsese)- Can one put a star rating on Bob Dylan, with renewed purpose, belting out "Isis" in a head and shoulders close-up to New Hampshire teens? What about a naked moment when he and Joan Baez simultaneously realize they should have married each other, and he, for maybe the first time, has nothing to say? As a Dylanologist, I'm glad that this footage from an under-reported period saw the light of day. You can start to think about stars when Martin Scorsese, my other dad, does everything he can to complicate and ultimately undermine that footage with his contributions. I appreciate that he uses his documentaries to experiment and chart his passions, and I think that I get what he's doing with his present-day chicanery, but it does not work for me. Shout-out to when Bob Dylan claims, of one of Scorsese's fake people, "He seemed to need enemies. Even when there weren't any." I felt that.

79. Serenity (Steven Knight) Djimon Honsou: Lawful Good Jeremy Strong as "The Rules": Lawful Neutral Anne Hathaway: Lawful Evil Diane Lane: Chaotic Good The Kid: Chaotic Neutral Jason Clarke: Chaotic Evil The Bartender: Lawful Neutral Matthew McConaughey: True Neutral Me, Believing Almost Sincerely That This Is a Good Movie: Chaotic Neutral

78. Atlantics (Mati Diop)- It's plenty effective as a window into a patriarchal society I wasn't familiar with, but Atlantics doesn't ever match the heights of its exquisite opening. At the risk of getting banned from this website--and I do realize what I'm implying here...not enough happens.

77. Birds of Passage (Ciro Guerra and Cristina Gallego)- After enjoying the formal invention of Embrace of the Serpent, I was interested to see Guerra and Gallego's spin on a well-worn genre like crime. So I was surprised to see how conventional Birds of Passage was. The indigenous Colombian rituals provide some color and grandeur, but otherwise this is a rise and fall that I've seen before, complete with a hothead character that threatens the whole operation. Perhaps my favorite part of crime movies, the alluring sinful fun that ropes the viewer in and makes him complicit, is nowhere to be found.

76. The Last Black Man in San Francisco (Joe Talbot)- I admire Joe Talbot's debut more than I like it. It's straightforward in its ideas of African-American and masculine performance, and it boils its essence down into a really effective scene near the end (on the bus). It does get tedious though. The protagonists' goals keep changing in a way that makes it seem like the film is overcompensating for how simple it actually is.

75. Running with Beto (David Modigliani)- Beto O'Rourke is both inspiring and goofy, able to get me to look to the stars and roll my eyes within the same breath. This movie is pretty standard for its genre, but its greatest strength is getting us to see that all people present those contradictions on an individual level, while most people, if we're talking about blue and red states, are the same collectively.

74. Gemini Man (Ang Lee)- Ang Lee treats Gemini Man like a test reel for 3D high-frame rate presentation, and I think I would have liked the film much less if I hadn't enjoyed the bells and whistles. (Find me in the club and ask me about the HDR--I can go deep.) You could read the film as a comment on Will Smith's Movie Stardom: We're the product of our experiences, and up-and-comers lack some of the character/baggage that Smith brings even if those imitators can approximate his bluster. (The fact that the film is a commercial failure adds another layer. Perhaps the cultural bridge that Smith created is no longer necessary.)

But you'll notice that none of that stuff is dealing with the text, which rarely does the unexpected, especially when it comes to the mustache-twirling Clive Owen character. The film pointedly avoids a romance between Smith and Mary Elizabeth Winstead, and that's another absence that I'm pretending is a plus.

73. The Hummingbird Project (Kim Nguyen)- At first, the film has trouble selling itself, almost underplaying how quixotic the characters' plan to beat the stock market is. Once it settles in after a few false starts, it expands into a story about how precious time is in general, an idea that Jesse Eisenberg sells in his sympathetic performance. The other characters don't fare as well. Skarsgard's foil is comparatively static and dull, and a dialed-up Salma Hayek makes this a more external, obvious picture than it should have been. But there are long stretches that I like. 72. Escape Room (Adam Robitel)- I was exhausted in a good way as the movie rocketed through its setup, showing us the backstory of half of its characters while bypassing the rest. I was exhausted in a bad way by its fourth ending. Basically though, this movie does its job. And I'm glad that some of these thrillers are still envelope-pushing PG-13's. 71. Late Night (Nisha Ganatra)- There's a preposterous scene swinging into the third act that I just cannot accept or get behind, and it introduces a wave of Serious Scenes of People Getting Real with Each Other. But I haven't seen such a distilled juxtaposition of second-wave feminism and third-wave feminism before, let alone in a comedy. Some solid jokes. And John Lithgow playing piano while feeling bad about himself! 70. Non-Fiction (Olivier Assayas)- Non-Fiction is a sign that Assayas, always prolific, is entering the Woody Allen Zone. That is, he, a filmmaker capable of great formal beauty, has left behind formal rigor for a moderately funny tale about pseudo-intellectuals having conversations that would have been provocative five or ten years ago. 90% of the film depicts infidelity, but it isn't really about infidelity. Just as every latter-day Allen picture has two or three immaculate jokes or inward moments, Non-Fiction, despite its lack of ambition, has some perfect Assayas inter-textual flourishes. The Selena character bemoans the disposable nature of the TV show she works on, but Assayas drops us into one of the show's wintry, over-exposed shoot-outs as if to capture a genre he'll never fully pursue. He also writes a joke in which Selena, played by Juliette Binoche, claims that she'll try to talk Juliette Binoche into recording an audio book.

69. Crawl (Alexandre Aja)- I guess you could say something negative about this movie, but you would also have to mention that ol' girl lets off a full clip from inside the gator while it is chomping her arm off. So it pretty much has that Academy Awards category sewn up. 68. Long Day’s Journey Into Night (Bi Gan)- as Chinese Jerry Seinfeld once said, "Why don't they make the whole movie out of the hour-long unbroken 3D take?"

67. The Art of Self-Defense (Riley Stearns)- The Art of Self-Defense is a film of two halves--in a way that, actually, Riley Stearns's previous film Faults was. For me, those two halves, one being slow and pre-ordained, the other being wild and unpredictable, are too extreme on either end. The vagueness of the setting is a weapon that goes a long way in unifying those parts though. Even if I couldn't get down with the silliness, The Art of Self-Defense is worth checking out for Alessandro Nivola's career-best performance. The movie is about performative masculinity, so he has the challenge of playing a sort of confident monolith while also being totally specific. He's everything you would imagine a karate instructor to be, but he also takes his glasses out of their case in a way I've never seen before.

66. Dolemite Is My Name (Craig Brewer)- Keep in mind that I couldn't make it all the way through Dolemite proper, so I'm not the intended audience for this film's "let's put on a show" awe. The structure is notable: It starts with Rudy Ray Moore as a failure who has tried everything, crests past the shooting of his movie, and uses that completion as a plot point, only to focus on the distribution for the third act. That is, the screenplay breathes new life into the plot right when it needs it. Eddie Murphy's best performances always seem like regretful commentaries on his own relationship with the audience, (I'm picturing the final speech of The Nutty Professor.) and he follows suit here. Even better is an effete Wesley Snipes as the too-cool-for-school D'Urville. Despite all of the talent involved, however, the thing just isn't funny, and it's least funny in the comedy club scenes that are supposed to sell us on Rudy Ray Moore's genius. If it's not supposed to be funny, then why populate the movie with five comedic supporting actors?

65. Harriet (Kasi Lemmons)- History classes could do a lot worse. Like a history class, the film has so much ground to cover that it has to make choices for pacing, and even then it still feels like a greatest hits. It does have a surprising, brazen edge though, and it's more spiritually curious than I was expecting. Kasi Lemmons leans in to the mystical side of the story, using Tubman's spells as conversations with God that give her the confidence that she needs. The device is a double-edged sword though: What distinguishes and others Tubman, what makes her the chosen one, is also kind of passive and out of her control. Speaking of out of control, Joe Alwyn plays the slaveholder who ain't gonna be as nice as his pappy was. "Seems to me things have gotten a little too easy 'round these parts." 64. Motherless Brooklyn (Edward Norton)- Like Edward Norton, Motherless Brooklyn is sincere and smart and shows its work. Also like Edward Norton, it sort of tires you out after a while with how hard it's trying. I respect the ambition--the film tangles itself in race and jazz and urban planning and makeshift families--but by the third or fourth time that the hero blacks out while getting roughed up, the film reveals that it can't quite thread the needle between noir pastiche and noir cliche. It's satisfying enough as a mystery in general.

63. The Two Popes (Fernando Meirelles)- I'm the target audience for 21st century papal fan-fic, and even I started to zone out during the flashbacks. Jonathan Pryce sort of disappears, but I think this is the first Netflix prestige project being judged on a curve.

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42inchtv · 5 years ago

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Some Thoughts On The Best Movies Of 2019

Honorable Mentions: “Always Be My Maybe” (dir. Nahnatchka Khan), “Avengers: Endgame” (dirs. Joe and Anthony Russo), “Her Smell” (dir. Alex Ross Perry), “The Highwaymen” (dir. John Lee Hancock), “Joker” (dir. Todd Phillips), “Knives Out” (dir. Rian Johnson), “The Laundromat” (dir. Steven Soderbergh), “Rolling Thunder Revue: A Bob Dylan Story By Martin Scorsese” (dir. Martin Scorsese), “Spider-Man: Far From Home” (dir. Jon Watts), “Star Wars: The Rise of Skywalker” (dir. J.J. Abrams), “Toy Story 4″ (dir. Josh Cooley), “Triple Frontier” (dir. J.C. Chandor), “Under the Silver Lake” (dir. David Robert Mitchell), “Waves” (dir. Trey Edward Shults), “Yesterday” (dir. Danny Boyle)

10. “High Flying Bird” (dir. Steven Soderbergh) Steven Soderbergh loves process movies, films where collaboration has to take place in order to achieve a set goal. So, heists. Almost all of Soderbergh's movies have a heist element in the text -- often literally, as with the "Ocean's" franchise or "Logan Lucky"; sometimes deeper, as with "Magic Mike" or "High Flying Bird." This new Soderbergh joint is a fucking blast -- and right from the start, with Andre Holland rat-tat-tatting his way through a fancy lunch with an NBA rookie who's still wet behind the ears (Melvin Gregg, good stuff). On the face of it, "High Flying Bird" is a heist movie, one where we watch Holland's Ray and his dogged former assistant (Zazie Beetz) use shoe-leather to stop an NBA lockout and make themselves a lot of money in the process. But its deeper reading is about a disrupter trying to disrupt again without falling behind the curve (it might as well be about Soderbergh himself). The ideas presented in "High Flying Bird" are so modern its almost as if Soderbergh has seen the future, one where athletes democratize sports in the way so many other fields have been democratized by social media. The production and release of "High Flying Bird" -- it was shot on an iPhone and dropped on Netflix -- are timely too. Soderbergh continues to get over on all these guys, doing it better and faster than most people half his age. Maybe he loves heists so much because he's made a career out of pulling jobs on the unsuspecting for 30 years.

9. “Booksmart” (dir. Olivia Wilde) A classic right out of the box, even in spite of the ponderous discourse surrounding its release. “Booksmart” takes the one-crazy-night structure and core relationship of "Superbad" and mixes it with the heart and sincerity of "Lady Bird" to create a coming-of-age movie that transcends gender and time and finds room to turn Beanie Feldstein into a giant star. This is a god-level performance, paying off what everyone hoped would happen after she played the beta in "Lady Bird." She's the alpha here and tears the movie to shreds. Give her a goddamn Oscar.

8. “Parasite” (dir. Bong Joon Ho) There is always another bottom. “Parasite” starts as one kind of movie and becomes another and the deftness with which it transitions is but one of the many delights buried within what has become a landmark release. Two things to note, before hitting the next blurb: first, the ending montage is unforgettable, quite literally as I’ve often replayed it in my head during quieter moments; and second, the score is the best of the year.

7. “Little Women” (dir. Greta Gerwig) Bigger in scope and bolder in construction than “Lady Bird,” Gerwig’s adaptation of “Little Women” stamps her as one of the best filmmakers working today. No one is able to be as honest in depicting complicated human feelings and as unafraid to portray outright empathy amid conflict. The only downside to Gerwig hitting the rarefied air of an auteur is that she doesn’t seem to want to act anymore. But we’ll take the role switch if there are more movies like “Little Women” on the horizon.

6. “Marriage Story” (dir. Noah Baumbach) Noah Baumbach is never really mentioned when conversations turn to best directors; he’s always felt a tier behind the Tarantinos and Scorseses of the world. But given a second thought, it’s hard to imagine why. Baumbach has been knocking out four-star movies since the ‘90s and “Marriage Story” might be his best. (Thanks to Netflix, it’s also by far his most widely seen; my parents even watched this one.) The divorce drama turned meme generator is typical Baumbach: smart people arguing about life with a bite that doesn’t shy away from showing the underside of humanity. But it feels like his most complete film, a perfect marriage of his earlier cynical work and his buoyant Gerwig period. It goes without saying but let’s say it anyway: Adam Driver is remarkable in this one, giving the best performance of the year. But Scarlett Johansson matches him scene for scene, a reminder of the raw talent she displayed during the “Lost in Translation” years when she was basically Andruw Jones for actors.

5. “Hustlers” (dir. Lorene Scafaria) From the opening tracking shot -- an unbroken take that follows newbie Destiny (Constance Wu in her best performance yet) as she tries to scratch together some cash during her first night at the klerb -- Lorene Scafaria makes her case for a Scorseseian tribute previously done best by Paul Thomas Anderson. But “Hustlers” isn’t a mere riff on “Goodfellas” or “Boogie Nights,” it’s a Trojan horse packed tight with big statements on the long-lasting ramifications of the 2008 financial crisis, the bonds of true friendship, and the way parenthood literally changes the mind of a parent (”motherhood is a mental illness,” Jennifer Lopez’s Ramona says twice during the film, first with a laugh and then later with a tear). It all culminates with a finale that doubles as a punch in the gut, with a monologue delivered by Lopez that should replace Ben Affleck’s juicy dialogue from “The Town” for aspiring actors on YouTube. Through it all, Scafaria controls every frame and sequence with confidence and ease not portended even by her previous solid work. It’s some masterful stuff, as is the way she’s able to tease out powerful performances from her motley crew of actors: Cardi B (lol sure), Lizzo, Lili Reinhart, Keke Palmer, Wu, and, of course, J.Lo, who does Robert De Niro in “Goodfellas” better than anyone else who has tried since 1990.

4. “Us” (dir. Jordan Peele) Oh, hey, “Us” is awesome. A “Twilight Zone” riff mixed with a greatest hits of references (including but not limited to “Scream,” “Jaws,” “The Shining,” “Signs,” “Funny Games,” “The Cabin in the Woods,” and “C.H.U.D.”) that throws a bunch of big, lofty ideas into the batter. Chief among them: How the ruling class must be taken out by the disenfranchised and how the disenfranchised, after wresting power from that class, will not go quietly into the night. (Alternate take: Bury the unwoke person you were as a youth before they can come back and ruin your life.) It all works so well — thrilling and hilarious, often at the same time. Lupita Nyong’o is otherworldly here (best actress 2020) and Winston Duke does an outrageous Jordan Peele impression that should please dads everywhere. Highest praise: During a year when we celebrated the greatness of 1999 movies, “Us” would rank up there with the best of the lot.

3. “The Irishman” (dir. Martin Scorsese) I've never thought to cry while watching a Martin Scorsese movie. That's not the kind of filmmaker he has been previously -- and even the movies he's made that pack an emotional wallop do so with almost surgical precision. Perhaps he's getting softer in his old age, or maybe I am: on my third viewing of "The Irishman" (but really, let's call it what it is: "I Heard You Paint Houses"), I teared up on more than one occasion. The elephant in the room after its release became Peggy and the wrongly perceived lack of agency given to her character. But watching how her relationship with Frank unfolds from birth to death with so few words is the movie's greatest trick. The first time we see Peggy, as an infant, she casts her big eyes on dad; those same glances -- angry, heartbroken, disgusted, pitiful stares -- make up their entire relationship. Only once does Frank experience something similar: after he kills Hoffa (a 20-minute sequence that features little dialogue and no music; we stan), Frank is next shown watching from a church pew as Bill Bufalino gives away his daughter at the altar on her wedding day; it's an act of fatherly love and joy that he'll never experience, not after what he's done hours before. Frank knows it too; just look at his face. A fucking masterpiece from our greatest filmmaker.

2. “Once Upon a Time in Hollywood” (dir. Quentin Tarantino) Speaking of masterpieces: “Once Upon a Time in Hollywood” is Quentin Tarantino’s best movie in 20 years and his most introspective ever; cinema’s former enfant terrible has finally grown up. “Once Upon a Time in Hollywood” grapples with what happens when masculinity runs its course and when one generation loses prominence to the next. But it’s also just super hilarious — filled with moments that are best described as lol. This is the best performance Leonardo DiCaprio has ever given. It’s a remarkable tight-rope walk: he's an actor playing a slightly worse actor who himself is giving a performance and then having to also give another performance as the actor he's playing? As his sidekick-slash-lifemate, Brad Pitt is so effortless that it's almost redundant to praise him. And while there are other delights to enjoy among the cast (Margaret Qualley, Julia “tha God” Butters), let’s highlight Margot Robbie: She finds such warmth and grace within Sharon Tate that it's hard not to leave the film feeling a tremendous amount of sadness and regret. "Once Upon a Time in Hollywood" might rewrite her history, but the real world did not. Unfortunately, this legend was never printed. But at least it exists in the movies.

1. “Uncut Gems” (dirs. Josh Safdie, Benny Safdie) What if the last 30 minutes of "Goodfellas" was actually 120 minutes and starred an all-time Adam Sandler, Mike Francesa, and Kevin Garnett, and prominently featured Billy Joel's "The Stranger"? The Safdie Brothers wrote and directed my fever dreams and it resulted in the best movie of 2019, 2018, 2017. This is a landmark; why bother writing anything else?

#some thoughts

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beardcore-blog · 5 years ago

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Andrew W.K. (7)

SYDNEY BIG DAY OUT 2011

BIG DAY OUT 2011 FEATURING: TOOL, RAMMSTEIN, IGGY AND THE STOOGES, M.I.A, JOHN BUTLER TRIO, GRINDERMAN, WOLFMOTHER, LCD SOUNDSYSTEM, BLOODY BEETROOTS DEATH CREW 77, CRYSTAL CASTLES, LUPE FIASCO, PRIMAL SCREAM SCREAMADELICA LIVE, DEFTONES, BLISS N ESO, ANGUS & JULIA STONE, PLAN B, PNAU, DIE ANTWOORD, EDWARD SHARPE & THE MAGNETIC ZEROS, BOOKA SHADE DJs, ANDREW W.K., THE JIM JONES REVUE, BIRDS OF TOKYO, LITTLE RED, GYROSCOPE, VITALIC, CSS, RATATAT, AIRBOURNE, DEAD LETTER CIRCUS, BLUE KING BROWN, THE NAKED & FAMOUS, OPERATOR PLEASE, CHILDREN COLLIDE, GYPSY AND THE CAT, WILL STYLES, LOWRIDER, SAMPOLOGY, KIDS OF 88, KID KENOBI & MC SHURESHOCK.

2010 was one for the record books and a stellar year for BDO.

We not only passed the emotional 100 show mark with a bang, but also staged our biggest shows to the largest and our most respectful audiences of our 18 years of BDO. And so we thank you for your continued support in helping us produce the best and safest event possible for the patrons, the bands and our tireless team.

The more you care: the more we care.

Which brings us to 2011.

2010 is a very hard act to follow, so for 2011 it felt right to turn up the heat musically and visually. And what better way to explain this than to present you with over 40 exceptional acts from home and abroad for the first round alone.

This is by far our biggest and most diverse announcement ever. As well as the many incredible first timers on offer, we are enthusiastically welcoming back several iconic BDO veterans. They are some of the most exciting and uncompromising artists performing live today. We believe this combination of extremes for 2011 will create a spectacular event.

From the heaviest to the sweetest sounds in the world today, this will be a sensory overload not to be missed.

Full tickets details are below, but please remember the policies we’ve built your show on: You’re all VIPs (Very Important Punters). We don’t do elitist or bogus pre-sales: we’re either on sale or we’re not. We have what we believe to be one low ticket price for one high standard for everyone….

And we hope to see you there

Ken and Viv

So, let’s get it rolling…

TOOL

The sky will blacken, the ground will shudder, the earth will open up and BIG DAY OUT will once again tremble in the presence of the awe-inspiring TOOL. “Primal, poignant, poetic and, as always, utterly powerful” (ARTISTdirect, July 2010). Touring Down Under for the first time in four years, vocalist Maynard James Keenan, guitarist Adam Jones, drummer Danny Carey and bassist Justin Chancellor will be fresh from the studio, where they have been slowly crafting a follow-up to 2006’s 10,000 Days. From Lateralus to Stinkfist, you know the music. But, backed by a video and laser light show unlike any other, TOOL live is also “the kind of visual experience you’ll probably never have again” (CHARTattack, August 2009). Unmatched in the world of dark, heavy rock, California’s TOOL have over 20 years scorched themselves a place as “one of the best live bands in history” (ARTISTdirect). Be blinded by their light at BIG DAY OUT 2011. (ALL SHOWS)

RAMMSTEIN

A decade since ruling over BIG DAY OUT with a reign of fire, pyrotechnics, monstrous riffs, wicked humour and industrial savagery, RAMMSTEIN will return this summer to reclaim their sovereign territory. The RAMMSTEIN live experience is “dizzyingly ridiculous”, says the BBC. “Rock is at its best when confrontational, subversive, curiously camp and bold, which is why RAMMSTEIN are currently one of the most important bands in the genre.” Armed with their sixth album, Liebe ist für Alle da, Germany’s infamous techno-metal masters bring nothing less than the greatest show on earth: “RAMMSTEIN are in pulverising form, the crowd are going crazy, the atmosphere is electric and the firebombs launching from the stage are like World War III on apocalypse LSD” (The Quietus, February 2010). Bow down to your kings, BIG DAY OUT 2011, for RAMMSTEIN have returned. (ALL SHOWS)

IGGY AND THE STOOGES

It’s time for a new generation to plug in to the raw power of IGGY AND THE STOOGES at BIG DAY OUT 2011. The band that invented punk rock return with iconic frontman Iggy Pop rejoined by guitarist James Williamson, drummer Scott Asheton, bass player Mike Watt and sax player Steve Mackay. IGGY AND THE STOOGES will be performing songs from their landmark 1973 album Raw Power, and cherry-picking the likes of Fun House, I Wanna Be Your Dog and Down On The Street from their incendiary back catalogue. Kurt Cobain consistently listed Raw Power as his #1 favorite album of all time and Jack White will tell you that Fun House is the best rock and roll album ever made! It’s “the most chaotic and beautiful mess you could ever want” (Boston Herald, September 2010). As Iggy says, “The Stooges and I are cocked and loaded to deliver it live on stage.” And the only place to see IGGY AND THE STOOGES deliver it this summer is at BIG DAY OUT. Don’t be the one to say you missed it. (ALL SHOWS)

M.I.A.

Standing at the front line of mission BIG DAY OUT 2011 is the one-woman shock and awe campaign that is M.I.A. The Sri Lankan-British “singer/rapper/firebrand” (Pitchfork) fearlessly cuts through genre boundaries and lyrical taboos, blazing new ground from the clubs to the streets with powerhouse tracks like Galang, Paper Planes and, from her latest album ///Y/, Born Free and XXXO. On record and on stage, M.I.A. delivers “pure, flashing brilliance, a lightning cognitive connection of word, idea and sound that few do so well” (NME, July 2010). Often controversial, always compelling, M.I.A knows only one way: all guns blazing. Take cover, BIG DAY OUT. (ALL SHOWS)

JOHN BUTLER TRIO

John Butler is undeniably the most successful truly independent artist in Australia. The recent rebirth of his band the JOHN BUTLER TRIO saw two new members join John Butler; Nicky Bomba on drums and Byron Luiters on bass. The title for the trio’s latest album April Uprising is all about a period of change, of evolution and a constantly renewing beginning. April Uprising is John’s most focused, diverse and accessible album to date. Between the epic opening track Revolution and a whispered acoustic coda A Star is Born, dedicated to John’s son, April Uprising is an album that combines the personal, the political and the musically memorable with skill and passion. BIG DAY OUT is very excited to welcome back JOHN BUTLER TRIO. (ALL SHOWS)

GRINDERMAN

BIG DAY OUT is shivering with anticipation as the howling, growling, malevolent rock beast that is GRINDERMAN approaches. GRINDERMAN are Nick Cave, Warren Ellis, Martyn Casey and Jim Sclavunos – Four Bad Seeds on a mission to take us somewhere else entirely. On album No.1 they were equal parts swagger and sexual frustration. On Grinderman 2, they’re simply ravenous and rampaging, “mixing horror and black humour with barely tamed musical malevolence” (The Guardian, September 2010). Fronted by Australia’s unarguable king of intense, intimidating performance, GRINDERMAN are coming to draw out the heathen child in all of us at BIG DAY OUT 2011. (ALL SHOWS)

WOLFMOTHER

Brothers and sisters sound the siren. A new moon has risen and the return of WOLFMOTHER is well and truly upon us. It was a whirlwind journey the band went on with the Wolfmother album, a voyage that resulted in over one million sales, sold out riots disguised as shows the world over, multiple ARIA Awards and a Grammy. In 2009 they regrouped and returned with a thundering 2nd record, Cosmic Egg, which they describe as “the sound of the Wolfmother world being rethunk and cracked wide open, with a sprawling, jubilant galaxy of musical and metaphysical harmony spilling forth”. We couldn’t have put it better ourselves and BIG DAY OUT couldn’t be happier to have them cracking it open again in 2011. (ALL SHOWS)

LCD SOUNDSYSTEM

You thought it was all over, but James Murphy’s genre-mashing LCD SOUNDSYSTEM couldn’t farewell the live arena without one last tilt at BIG DAY OUT 2011. The biggest name in punk-funk for much of the last decade, LCD SOUNDSYSTEM is a “disco-ticking-time-bomb” (OC Weekly) that has done everything – from movie soundtracks to Grammy-nominated albums. Now, after winning raves for third album This is Happening, Murphy is about to flick LCD’s ‘off’ switch. But before he does, LCD SOUNDSYSTEM wanna put some dance, party and soul in your world one last time, via the likes of Drunk Girls, North American Scum and Daft Punk is Playing at My House. And they’ll be bringing “the heavy artillery… “More muscular and frenzied than on record, the LCD seven-piece live line-up avoids the ‘live dance music’ cul-de-sac in favour of a looser, more dynamic sound… Wow” (The List, May 2010). You better believe this is happening – so be sure to get enough LCD SOUNDSYSTEM to last you a lifetime at BIG DAY OUT this summer. (ALL SHOWS)

BLOODY BEETROOTS DEATH CREW 77

BIG DAY OUT has seen the future of dance music, and it goes by the name of BLOODY BEETROOTS DEATH CREW 77. Bob Rifo’s Italian gang may be DJs, prolific producers, masked avengers and remixers extraordinaire, but this summer it will be BLOODY BEETROOTS DEATH CREW 77 invading the Boiler Room. This isn’t just a live set, this is live communal anarchy, an electro punk rave-up that has made BLOODY BEETROOTS DEATH CREW 77 one of the most talked about dance music acts on the planet. Madly energetic, or just plain mad? Whatever the answer, you’ll be showing mad love for BLOODY BEETROOTS DEATH CREW 77 by the time they’re done with BIG DAY OUT 2011. (ALL SHOWS)

CRYSTAL CASTLES

Get ready to get messy with CRYSTAL CASTLES at BIG DAY OUT 2011. Toronto’s electronic experimentalists Ethan Kath and Alice Glass are purveyors of the most frenetic live show on the planet. “It’s a thrillingly anarchic, messy show … all over the place, and all the better for it” (MusicOMH, June 2010). The whispers about CRYSTAL CASTLES began in 2006, a series of limited, lo-fi vinyl singles selling as quickly as they were pressed. Two self-titled albums later, the whisper is a roar. Or maybe that’s just Glass’s “hellish shriek backed by warzone beats and liquid synths”. Shield your ears – CRYSTAL CASTLES will bring the noise at BIG DAY OUT this summer. (AUCKLAND & EAST COAST ONLY)

LUPE FIASCO

If BIG DAY OUT is beamin’, it’s because we’re psyched to be welcoming back hip hop superstar LUPE FIASCO. The MC with the madly energetic, fast-flowin’ live-band show kicked and pushed outta Chicago with two Grammy-nominated albums, Food & Liquor and The Cool. Since last hitting these shores, LUPE has wrapped a new album, Lasers. But where is it? Singles I’m Beamin’ and Shining Down were a tasty tease, yet the album proper remains so damn anticipated that the rapper’s fans have resorted to petitioning his label to have it released. That’s just the kind of passion LUPE FIASCO inspires, and that’s why we’re beamin’ to have him back at BIG DAY OUT 2011. (ALL SHOWS)

PRIMAL SCREAM

20 years after taking the sounds and spirit of the second summer of love and acid house and melding it into one of the greatest albums of the 1990s, British rockers PRIMAL SCREAM will remake history by performing their epoch-defining classic Screamadelica in full at BIG DAY OUT 2011. Two decades on, these songs still sound like the future: Loaded, Movin’ On Up, Higher Than the Sun, Come Together, Don’t Fight it, Feel It. Bobby Gillespie and the band will be joined by gospel singers, horn section, and a field full of memories. Come together to see PRIMAL SCREAM do Screamadelica at BIG DAY OUT. (ALL SHOWS)

DEFTONES

BIG DAY OUT is daring to look deep into the Diamond Eyes of California’s favourite alt-metal sons, DEFTONES. The 2010 release and sixth album, is “a brilliant, invigorating reintroduction” (NME) to Chino Moreno, Stephen Carpenter, Frank Delgado, Abe Cunningham and new bassist Sergio Vega – the men who shook the world a decade ago with the groundbreaking White Pony – still “wield that balance between beauty and brutality better than anyone” (ARTISTdirect, August 2010). So brace yourself for extremes as you prepare to witness the long-awaited return of DEFTONES at BIG DAY OUT 2011. (ALL SHOWS)

BLISS N ESO

Fresh from knocking off Eminem’s six week reign at the top of the ARIA Album Charts, with their fourth album Running on Air Aussie hip hop trio BLISS N ESO are self assuredly demanding your ears when they hit the stage at BIG DAY OUT 2011. This is music made to fill the wide open spaces of BIG DAY OUT: “This is a career defining album; an album by which every new hip-hop release in this country will be judged, and deservedly so” says The Vine, MX added “Running on Air is a rocket that never runs out of fuel.” Hip-hop style stadium singalongs? We think yes. (ALL AUSTRALIAN SHOWS)

ANGUS & JULIA STONE

Australia’s finest duo ANGUS & JULIA STONE have spent the last few years on a remarkable musical journey together and now they bring their lovingly crafted songs to BIG DAY OUT 2011. Their latest album Down the Way was released to critical acclaim mainly due to the subtle shift of gear, represented by a growing confidence in their abilities as artists which has seen the music follow suit. (ALL AUSTRALIAN SHOWS)

PLAN B

BIG DAY OUT is reverting to PLAN B. But Ben Drew is no back-up plan, he’s the recalcitrant renaissance man of British music: rapper, actor, guitarist, storyteller, filmmaker and now chart-topping soul singer. After shocking the nation with his 2006 debut Who Needs Action When You Got Words, PLAN B took a sharp turn with The Defamation of Strickland Banks, a surprising, slick album filled with “stonking tunes” (NME) that trace the rise and fall of a smartly-suited soul singer. But don’t be fooled – this sweet soul morsel has a razor-sharp edge. Quite simply, no one else cuts it like PLAN B, and he’s suiting up for BIG DAY OUT 2011. (ALL SHOWS)

PNAU

As the world now knows, Australia’s electronic / pop crossover pioneers, PNAU did make the big move over two years ago to take up residence in London following on from a life changing moment crossing paths with (and now under the guidance of) the pop maestro himself, Sir Elton John. It’s been three long years since the release of their last spectacular self titled album, with which Messr’s Nick Littlemore and Peter Mayes have been incredibly busy traipsing the world completing album number four in studios in London, Atlanta, New York and Los Angeles, as well as having been involved in array of projects including one half of Empire Of The Sun; production jobs for Groove Armada, Ellie Goulding, Robbie Williams and more. In amongst this worldly action, Nick has been given the auspicious duty of composer and musical director for the famed international production Cirque du Soleil. With the wait now over and the highly anticipated fourth album arriving shortly, it’s time for PNAU to present the next chapter of ‘their brilliant career’ and as such the rumours can be confirmed as PNAU finally return home to Australia in January 2011 for the BIG DAY OUT. (ALL AUSTRALIAN SHOWS)

DIE ANTWOORD

Comin’ straight outta Cape Town to BIG DAY OUT 2011 are South Africa’s interweb-conquering, next level, hip hop heroes DIE ANTWOORD. The hard rhyming Ninja, Yo-Landi Vi$$er and DJ Hi-Tek burst on to the scene with serious gangsta skillz and viral videos for Enter the Ninja and Zef Side, then quickly became the “so zef, so fresh” smash hit of Coachella 2010 – “Pound for pound the most engaging and legitimately surprising act of the weekend,” said the LA Times. Part anarchic art project, part the-future-of-rap, total mystery. Are DIE ANTWOORD for real? Find the answer at BIG DAY OUT this summer. (ALL SHOWS)

EDWARD SHARPE & THE MAGNETIC ZEROS

With their magic tour bus painted all the colours of the rainbow and their fearless leader at the wheel, EDWARD SHARPE & THE MAGNETIC ZEROS are on the road to BIG DAY OUT 2011. The (at least!) ten-strong, Hottest 100-conquering neo-hippie combo from California are putting a skip in the step of the world with smile-inducing songs from the name-making Home to the happy-go-lucky Janglin’ and 40 Day Dream. This is the stuff group singalongs are made of, music to bring people together. As the Denver Post put it: “At an Edward Sharpe show, everybody is family.” So get on board with EDWARD SHARPE & THE MAGNETIC ZEROES – next stop, BIG DAY OUT. You’ll feel right at home. (ALL SHOWS)

BOOKA SHADE DJs

Berlin duo Walter Merziger and Arno Kammermeier are BOOKA SHADE DJs – Get Physical label bosses, producers of immense electronic club music, newly-minted DJs. At BIG DAY OUT 2011, it’s BOOKA SHADE in DJ guise that’ll take to the Boiler Room. A BOOKA SHADE DJs set isn’t just about flinging vinyl onto a turntable – “Bringing together new tracks and new beats and creating something new around it, is more the spirit of our music,” says Kammermeier. It’s also about capturing the feeling of a great party. Grab the feeling and don’t let go with BOOKA SHADE DJs at BIG DAY OUT this summer. (ALL SHOWS)

ANDREW W.K.

When it’s time to party, BIG DAY OUT knows exactly who to consult – the ultimate authority on partying hard, ANDREW W.K. Infamous for his bloody nose, highly regarded for his motivational speaking, famous for his high-life attitude, beloved for his songs like Party Hard, She is Beautiful and It’s Time To Party, New Yorker ANDREW W.K. is coming our way with his full band for the first time ever to create feelings of pure joy, fun, freedom, and possibility. How does he do it? “His fast and hard party anthems whip the crowd into a fist pumping frenzy … ANDREW W.K. takes command of the crowd and bids them to live it up while they can” (mxdwn, September 2010). So, what are you waiting for? It’s time to party. It’s time for ANDREW W.K. to take command at BIG DAY OUT 2011. (ALL SHOWS)

THE JIM JONES REVUE

THE JIM JONES REVUE will be burning the house down at BIG DAY OUT 2011. THE JIM JONES REVUE manifesto is simple, and ferocious: "If you’re going to get on stage,” says guitarist Rupert Orton, “deliver." And that they do, riffing on Little Richard and Jerry Lee Lewis for a rock’n’roll sound that could have come direct from the 1950s, if it wasn’t fused with the so dang wild, loud and loose vibes of The Cramps and The Birthday Party. The Londoners may have only dropped their debut in 2008, but don’t let that fool you – these five punk rock bluesmen have been around. Hot on the heels of their blistering second album, Burning Down Your House, THE JIM JONES REVUE are set to fire up BIG DAY OUT this summer. (ALL SHOWS)

BIRDS OF TOKYO

BIRDS OF TOKYO certainly aren’t the kind of band to do things in halves. Their latest self –titled album was recorded between Sydney, London, Gothenburg and New York; BIRDS OF TOKYO gave themselves the most surreal and inspiring experience possible, knowing that the results of doing so would speak for themselves. This journey into such deeply personal territory has produced BIRDS OF TOKYO’s most meaningful and powerful album yet. Stand up and be counted at BIG DAY OUT 2011 with BIRDS OF TOKYO. (ALL SHOWS)

LITTLE RED

Melbourne’s LITTLE RED have been away a while, growing up, growing down, tasting the sweet and the bittersweet in equal measures, they’ve recently returned with their second album Midnight Remember. Described by The Age as ‘pretty much the best band in Melbourne at the moment’, LITTLE RED and their all-singing, all-dancing live show are set to shake up BIG DAY OUT 2011 with their pure, irrepressible pop, infectious hooks and good times. (ALL AUSTRALIAN SHOWS)

GYROSCOPE

No strangers to the BIG DAY OUT GYROSCOPE is bringing something new to the table this time and it’s not what you would expect. You would be forgiven for thinking that they would stick with what seems like a formula for success. But for something to succeed you don’t need a formula – you need a solid foundation on which everything can be built. And few in music have set a foundation as strong as GYROSCOPE. (ALL AUSTRALIAN SHOWS)

VITALIC.

The temperature gauge is rising as BIG DAY OUT ushers in the artist who ushered in a whole new era of dance music, VITALIC. The man born Pascal Arbez has always been one step ahead of the electro game, his 2005 debut OK Cowboy preceding the rise to worldwide dance-dominance of every other Frenchman with a laptop. In 2009, he re-stamped his authority on the scene with the highly-charged Flashmob. Using big synths, big beats and a big slice of glittery disco as his building blocks, VITALIC creates a sound as pulverising as it is infectious. No messing around – “This guy is incredible” (inthemix, November 2008). Keep up if you can, as VITALIC flashes forward at BIG DAY OUT this summer. (ALL SHOWS)

CSS

Representin’ for São Paulo at BIG DAY OUT 2011 are Brazil’s hot, hot band of the people, CSS. “The physical embodiment of the best party ever” (NME), CSS have shared their unquenchable thirst for good times and all things pop and art via two albums, Cansei de Ser Sexy and Donkey. On the eve of the release of their next blast of post-punk-electro-art-school madness, CSS are back to doing what they do best – creating unbridled joy live on stage, in a set that’s equal parts dance party, urban circus, and out-and-out chaos. As the band’s technicolour frontwoman Lovefoxx would say: get up, get up, get up! Get up, and get your CSS while it’s hot at BIG DAY OUT. (ALL SHOWS)

RATATAT

When BIG DAY OUT is rockin’, RATATAT will come a’knockin’. New York duo Mike Stroud and Evan Mast have been mixing electronics with guitars for the past decade, combining the power of noise and dance, collaborating with Kid Cudi, remixing Bjork, dropping four albums. Songs like Lex, Wild Cats and Seventeen Years have made them completely hip, but it’s when you see RATATAT live on stage – an aural, visual and physical assault of synths, guitar, hypnotic video and boundless energy – that the hype makes perfect sense. If you’re ready to be blown away, you’re ready for RATATAT at BIG DAY OUT 2011. (ALL SHOWS)

AIRBOURNE

AIRBOURNE have been waving the rock and roll flag for Australia both at home and overseas since 2003. AIRBOURNE crank out with all cylinders firing potent, solid and good ol’ fashioned rock and roll. “Basically, we’ve never been about having a specific message; we don’t talk about politics or social injustices in our songs. There are other bands out there to take care of that,” says rowdy lead guitarist and vocalist Joel O‘Keefe. The band’s latest album No Guts, No Glory is a true testament to AIRBOURNE’s way of life: the album is a virtual rock and roll buffet served up this summer at BIG DAY OUT 2011. (ALL SHOWS)

DEAD LETTER CIRCUS

It’s been a few years since DEAD LETTER CIRCUS blasted onto Australian airwaves in 2007, their bombastic yet nuanced take on alternative rock left most observers struggling to process what they were hearing. It was epic, it oozed confidence, it was intense. Fast forward a while and the band then set out to record the follow up to their self-titled EP that started it all. Over an incredible 18 month gestation period, with every deadline pushed, every note analysed, every resource pooled, and every avenue of exploration exhausted, the new album This Is The Warning was born. From one travelling circus to another we make way for DEAD LETTER CIRCUS to come play BIG DAY OUT 2011. (ALL AUSTRALIAN SHOWS)

BLUE KING BROWN

You can put your fist in the air, come just as you are, you can bounce to da beat, rock out up the front row or chill up the back. Hard hitting lyrics and groove delivered in the most accessible way…you’re at BIG DAY OUT 2011 and Australia’s premier urban roots crew BLUE KING BROWN have arrived! Lead by the multi talented, relentless energy of Natalie Pa’apa’a, the band have established themselves as one of Australia’s most engaging live acts. BLUE KING BROWN bringing groove to BIG DAY OUT this summer. (ALL AUSTRALIAN SHOWS)

THE NAKED AND FAMOUS

The meteoric rise of THE NAKED AND FAMOUS has been the biggest story in New Zealand music in 2010. The group had already won over alternative radio ears in their home country with two EPs where a home studio full of industrial strength electronica ideas underpinned some of the most melodic dream pop concocted down under, before they unleashed single Young Blood in May. But were they ready for that song to go straight into the NZ charts at number one, hook them up with NY indie label and blog Neon Gold, hit playlists from Triple J to London’s XFM, win them the prestigious APRA Silver Scroll and make them one of the hottest unsigned properties in the world? Probably not. But their self-produced album, Passive Me Aggressive You, has since appeared and garnered even more praise. Nudity? Not in public. Fame? Most definitely around the corner for these five kids from Auckland. (ALL SHOWS)

OPERATOR PLEASE

Returning to the BIG DAY OUT national tour for their second time OPERATOR PLEASE are well and truly back. This time though, take everything you think you know about OPERATOR PLEASE and put it aside. The Queensland-based band defy all expectations on their second album, Gloves, with the youthful enthusiasm and teenage angst that gave them worldwide recognition making way for a more sophisticated and developed sound. After spending the last few years touring the globe the band bring their pop anthems along for the ride and are set to rock BIG DAY OUT 2011. (ALL AUSTRALIAN SHOWS)

CHILDREN COLLIDE

CHILDREN COLLIDE arrive for BIG DAY OUT 2011 on the back of their powerful new album Theory for Everything. Vocalist and guitarist Johnny Mackay says "Alchemy and chemistry, reason and religion, love and logic. Art and music are so often about tying opposing forces together into a contentious dualism. Contradiction is a big part of what we do." CHILDREN COLLIDE are here. (ALL AUSTRALIAN SHOWS)

GYPSY & THE CAT

There is no gypsy and there is no cat, but there is a GYPSY & THE CAT, an electronic duo who, instead of pumping out house beats and booty-quaking bass lines, pen gorgeous mini epics of forlorn beauty and elegiac romanticism that, you can just tell, are about heartache and solitude, past girlfriends and future loss. Their brand new album Gilgamesh is set for release this summer. In the meantime the lead single Time to Wander has been described as “…dreamy, epic and luscious soft rock, just in time to soundtrack the Summer. Bam” (The Brag). GYPSY & THE CAT bring their summer soundtrack to BIG DAY OUT 2011. (ALL AUSTRALIAN SHOWS)

WILL STYLES

WILL STYLES first discovered “The Rave” when he was 16. At the end of the night he was moshing on the dance floor with his Skid Row t-shirt and torn jeans, whirling 2 flannies above his head, yelling along to Speed Racer. He was hooked. He’s always tried (often spectacularly badly) to play rave in FunkTrust sets, but after taking awhile he’s finally playing rave music every week: like a shitty Nicholas Sparks novel-turned-movie, he’s been re-united with his first love. Will has hosted Radio FunkTrust on Triple J since 2006. Every Friday night you can tune in to him playing super-sweet new records and making fart jokes. WILL STYLES is joined for the BIG DAY OUT shows by MC HAYLEY BOA. She used to sing in one of The Wiggles shows and was reprimanded for incorrectly miming the actions during the Eat a Banana song. Instead of peeling it, she was (quite innocently) fellating the banana to tens of thousands of small children. No one has been able to convince her to re-enact her banana antics on stage yet, but we’re hoping it happens at BIG DAY OUT in 2011. (ALL AUSTRALIAN SHOWS)

LOWRIDER

Bigger. Brighter. Bolder: Just three words to nail the irresistible sound of hot Adelaide quartet LOWRIDER’s sophomore album, Round the World. LOWRIDER have taken their unique blend of soul and funk to the world, forging a reputation along the way as one of the most mesmerising live acts around. Get soulful, get funky, get LOWRIDER on the menu this summer at BIG DAY OUT 2011. (ALL AUSTRALIAN SHOWS)

SAMPOLOGY

SAMPOLOGY is a DJ. And we’re not talking your steak and three vegie solid club set here. He’s a highly accomplished technician on the 1s and 2s, (and sometime 3s) cutting his teeth in the early days as turntablist for a number of live bands including Soma Rasa and the Vinyl Slingers, which saw him first doing BIG DAY OUT at the tender young age of 17. He’s also one of the most consistently brilliant and versatile club Djs who’s not shy of mixing up his styles to suit the show. One week you might find him creating mash-up mayhem in intimate clubs by changing the vibe of the room to some kind of ridiculously wicked house party. The next week you’ll stumble into a bass bin laden club night to find him delivering a fast paced performance, skilfully bringing together endless forms of club music at countless tempos. And he’s bringing the whole swag to BIG DAY OUT in 2011. In the words of Peaches: “Sampology makes me wanna break dance.” We couldn’t have summed up SAMPOLOGY the DJ better ourselves. (ALL AUSTRALIAN SHOWS)

KIDS OF 88

Jordan and Sam were born in 1988. In 2009, they were the toast of the music world with the chart conquering disco sleaze of their platinum selling debut single My House. They followed up with a string of throbbing electro anthems culminating in the release of the insanely catchy, wildly electric journey of 21st century dance pop discovery that is their 2010 debut album Sugarpills. As their recordings and remixes have been filling club dance floors, KIDS OF 88 have since smashed their way around New Zealand and Australia, lighting up clubs and sharing the stage with everyone from the Passion Pit and Scissor Sisters to Cassette Kids while ducking back to their home studio to remix stars like Ke$ha and Cobra Starship. (ALL SHOWS)

KID KENOBI AND MC SHURESHOCK

At the turn of the decade, KID KENOBI AND MC SHURESHOCK first joined forces and by the middle of the 2000s, they were recognized as Australia’s premier MC-DJ tandems, having completed sell-out tours of the UK, USA, Canada, Brazil, China, Switzerland, New Zealand and Singapore. Celebrating a decade of working together since the turn of the millennium, KID KENOBI & MC SHURESHOCK will release their debut EP TEN” on 10.10.10 supported by a very special TEN tour incorporating a retrospective 2000-2010 performance across a whopping 23 dates nationally, and culminating with BIG DAY OUT across Australia in early 2011. (ALL AUSTRALIAN SHOWS)

Posted by Troy Constable Photography™ on 2011-01-27 09:36:50

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onemorecupofcoffee · 4 months ago

Note

https://www.tumblr.com/onemorecupofcoffee/757351537818370048/im-not-there-is-top-10-dylan-songs-for-me?source=share

What are the other nine?

ooh okay this is hard! definitely number one is things have changed.

the other 8 in no particular order:

knockin' on heaven's door. i adore every version of it, the studio and rolling thunder revue version are my favorites

it's alright ma (i'm only bleeding)

when the deal goes down

sad-eyed lady of the lowlands

blind willie mctell

one more cup of coffee (of course! it's my url origin)

ballad of hollis brown (my ex url / username)

the man in me

some of my favorite live songs:

the lonesome death of hattie caroll (rolling thunder revue version)

isis (rolling thunder revue version)

maggie's farm (live at budokan)

ballad of a thin man (live at budokan)

seven days (rolling thunder revue)

jokerman (live on david letterman)

rocks and gravel (live at the gaslight 1962)

when i paint my masterpiece (2024 live version)

and the first dylan song i really got obsessed with was hurricane, so that's also one of my favorites. i shall be released is phenomenal too, but i prefer other artist's versions, especially the one joni mitchell, cass elliot, and mary travers did.

#soooo sorry for yapping anon. i hope youll forgive me #bob dylan #iris rambles #ask #asks #iris' mailbox

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beardcore-blog · 5 years ago

Text

IMG_9417

SYDNEY BIG DAY OUT 2011

2010 was one for the record books and a stellar year for BDO.

The more you care: the more we care.

Which brings us to 2011.

From the heaviest to the sweetest sounds in the world today, this will be a sensory overload not to be missed.

And we hope to see you there

Ken and Viv

So, let’s get it rolling…

TOOL

RAMMSTEIN

IGGY AND THE STOOGES

M.I.A.

JOHN BUTLER TRIO

GRINDERMAN

WOLFMOTHER

LCD SOUNDSYSTEM

BLOODY BEETROOTS DEATH CREW 77

CRYSTAL CASTLES

LUPE FIASCO

PRIMAL SCREAM

DEFTONES

BLISS N ESO

ANGUS & JULIA STONE

PLAN B

PNAU

DIE ANTWOORD

EDWARD SHARPE & THE MAGNETIC ZEROS

BOOKA SHADE DJs

ANDREW W.K.

THE JIM JONES REVUE

BIRDS OF TOKYO

LITTLE RED

GYROSCOPE

VITALIC.

CSS

RATATAT

AIRBOURNE

DEAD LETTER CIRCUS

BLUE KING BROWN

THE NAKED AND FAMOUS

OPERATOR PLEASE

CHILDREN COLLIDE

GYPSY & THE CAT

WILL STYLES

LOWRIDER

SAMPOLOGY

KIDS OF 88

KID KENOBI AND MC SHURESHOCK

Posted by Troy Constable Photography™ on 2011-01-27 09:32:40

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beardcore-blog · 5 years ago

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IMG_0993

SYDNEY BIG DAY OUT 2011

2010 was one for the record books and a stellar year for BDO.

The more you care: the more we care.

Which brings us to 2011.

From the heaviest to the sweetest sounds in the world today, this will be a sensory overload not to be missed.

And we hope to see you there

Ken and Viv

So, let’s get it rolling…

TOOL

RAMMSTEIN

IGGY AND THE STOOGES

M.I.A.

JOHN BUTLER TRIO

GRINDERMAN

WOLFMOTHER

LCD SOUNDSYSTEM

BLOODY BEETROOTS DEATH CREW 77

CRYSTAL CASTLES

LUPE FIASCO

PRIMAL SCREAM

DEFTONES

BLISS N ESO

ANGUS & JULIA STONE

PLAN B

PNAU

DIE ANTWOORD

EDWARD SHARPE & THE MAGNETIC ZEROS

BOOKA SHADE DJs

ANDREW W.K.

THE JIM JONES REVUE

BIRDS OF TOKYO

LITTLE RED

GYROSCOPE

VITALIC.

CSS

RATATAT

AIRBOURNE

DEAD LETTER CIRCUS

BLUE KING BROWN

THE NAKED AND FAMOUS

OPERATOR PLEASE

CHILDREN COLLIDE

GYPSY & THE CAT

WILL STYLES

LOWRIDER

SAMPOLOGY

KIDS OF 88

KID KENOBI AND MC SHURESHOCK

Posted by Troy Constable Photography™ on 2011-01-27 09:39:39

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The post IMG_0993 appeared first on Good Info.

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