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brandybradyrandyandyndy · 4 years ago

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Mark Forster's role in the Ace Attorney franchise

Okay, first off:

I'm not a fan of Mark Forster's music, please don't take this post the wrong way

There might be some aa trilogy spoilers

Also, I admit this title is pretty bold for what I'm going to say on this topic, but I watch The Voice of Germany with my sister every week and one of the coaches is Mark Forster who I only know like five songs of in total, but his song "Au Revoir" (which is actually a terrible song btw. It's so catchy, I've had it stuck in my head since I woke up this morning and it ruined my day.) kind of reminded me of the whole "Prosecutor Miles Edgeworth chooses death." thing, because the only thing I knew about this song was the refrain:

which would be roughly translated to:

"There is nothing that's holding me back, au revoir / Forget who I was / Forget my name / It will never be the way it was before / I'm off / Au revoir"

But as I looked further into the lyrics I found out there is a "rap part" which tells you about the places the lyrical I will go to when they're away and it contains a passage that adds a beautiful twist to my theory/headcanon (I'm not sure what to call this yet).

"I'm sitting on the Mayan throne in the jungle / [...] / The phoenix is taking off now"

You see where I'm going with this? I know, it's not Phoenix who's leaving and I know the lyrics refer to the Maya Civilization from Mesoamerica, but I thought it was a funny coincidence, that not only does the word "Phoenix" appear in the lyrics of this song, but so does "Maya".

So when I first saw this part of "Au Revoir", I started imagining how Miles Edgeworth would listen to this song and like dramatically sing along to it and start crying or something, but this only posed another question:

How could this scenario happen? How and why would he even come in contact with this song?

My first guess was, Miles probably went to Germany after he left his note, because he grew up there (I think), when he had been adopted by Manfred von Karma as a child, and he heard the song somewhere in the radio because in Germany they blast Mark Forster's music in almost every public space, so there is no escape from it ever. I tried to find out, during which timespan Miles left America, just to make sure if there was a chance that he actually could have heard it on the radio.

In the Ace Attorney wiki this timespan isn't clearly mentioned, but since the last case (Rise from the Ashes) from the first game is set in February 2017 and Edgeworth returns to America in March 2018 I'm guessing, this is exactly the time window in which he's in Germany* (minus some days/weeks of course, because I don't think he'd just leave on the exact same day he had his last trial in America). *to make this easier for me I'm just assuming he spends the entirety of his travels in Germany

But this brings me to my problem, the German Charts of 2017/2018.

As you can see, the only songs by Mark Forster that were in the charts while Miles would be in Germany are the ones above. This means that it is highly unlikely that he knew of "Au Revoir" from the radio, because why would they play this old song if they could also play Mark Forster's more recent songs that are popular right now?

But when exactly was "Au Revoir" popular enough to be in the German Charts?

During my research I looked up these years, too, and it came down to 2014 (the year "Au Revoir" was released) and even a year later in 2015. So there is no way he could have known of this song if his most recent stay in Germany was in 2017, right? (I mean, unless the German people he met then, had literally no taste and forced him to listen to it.)

But I have a pretty simple and logical explanation on how he could have still known of this song, even though he probably wouldn't have heard it in Germany in 2017.

I tried really hard, but I couldn't for my life find real data on Mark Forster's demographic, so just believe me if I tell you that his demographic is mostly preteen and teenage girls. Also, it's worth mentioning that Mark Forster's music is pretty much only known in German speaking countries like Germany, Switzerland and Austria. Now, let's take a closer look at the years, in which Au Revoir was most popular: 2014 and 2015

Who could Miles Edgeworth possibly know, who in 2014/2015 is 1. German, 2. a teenager and 3. a girl? The answer is quite obvious:

His younger sister Franziska von Karma.

Considering that she was either 14 or 15 when "Au Revoir" was released, she fits Mark Forster's demographic perfectly and although I'm not 100% sure if she was in Germany then, I still believe, she must have had at least some connection to Germany in some way, maybe a German friend who she still was in contact with or maybe she had access to German tv, maybe German YouTube channels or social media. And don't get me wrong, I love Franziska von Karma and I wouldn't wish anything bad on her, but at the same time I strongly believe that she'd be the kind of girl who'd have gone through a Mark Forster phase as a teen.

Now remember that I, myself, have a sister. I know what siblings do to annoy each other and I just know from the bottom of my heart that if Franziska really was a fan of Mark Forster's music, she would blast it on any opportunity she'd get. Or she would at least talk about him and his songs with her brother. Believe me. If Franziska really listened to Mark Forster, Miles would have known of him, too. There is literally no other way. (For reference, I know every 1D member's name, birthday and relationship status, although I literally do not care about any of them at all, only because my sister is obsessed with them and talks about them 24/7. Meanwhile the only MCR member I know, is Gerard Way, even though I listen to their music on the daily.)

So here is my conclusion.

Miles Edgeworth definitely listened to "Au Revoir" by Mark Forster on the plane from Japanifornia to Germany and he also definitely cried, after he made sure nobody could see him (especially during the part "Der Phönix macht jetz 'n Abflug"/"The phoenix is taking off now"). Also, he probably listened to the song multiple times during his stay in Germany and you literally can't prove me wrong on this. I mean you could try, but I invested way too much of my time in this to actually care about another person's opinion on my shitty headcanon.

Also, the moment Franziska met Phoenix and Maya, her memories vaulted her right back to her Mark Forster phase and her hatred against Phoenix wasn't solely based on the fact that he was accountable for the conviction of her father Manfred von Karma, her hatred was also ignited by the fact that she probably had "Au Revoir" stuck in her head because of these two for the rest of the day and I just know that this must have completely ruined it for her.

Also, unrelated to anything I've said prior:

Klavier Gavin would definitely collaborate with Mark Forster on at least one song and however severe Franziska's Mark Forster phase might have been, I am convinced Klavier would have outdone her by far. I haven't played AJAA yet, but as much as I've gathered from the fandom, he's like a weeaboo but with Germany, I think? I'm absolutely sure, he wouldn't ever miss a chance like this.

Finally, here is the song this whole post is about:

#ace attorney #aa #miles edgeworth #franziska von karma #manfred von karma #narumitsu #wrightworth #phoenix wright #maya fey #german #german culture #mark forster #klavier gavin

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dweemeister · 4 years ago

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Best Documentary Short Film Nominees for the 93rd Academy Awards (2021, listed in order of appearance in the shorts package)

NOTE: For viewers in the United States (continental U.S., Alaska, and Hawai’i) who would like to watch the Oscar-nominated short film packages, click here. For virtual cinemas, you can purchase the packages individually or all three at once. You can find info about reopened theaters that are playing the packages in that link. Because moviegoing carries risks at this time, please remember to follow health and safety guidelines as outlined by your local, regional, and national health guidelines.

A Love Song for Latasha (2019)

On March 16, 1991, Latasha Harlins, a 15-year-old African-American girl, was murdered by Soon Ja Du at Du’s convenience store in Los Angeles. The murder, which occurred almost two weeks after Rodney King’s beating at the hands of the Los Angeles Police Department (LAPD), contributed to the start of the 1992 LA riots one year later. Directed by Sophia Nahli Allison, A Love Song for Latasha is an avant grade film that intercuts statements by Latasha’s friends and family about the young girl they cared deeply for. Alongside reenacted scenes of childhood, of black girls frolicking on the Californian coastline and the streets of Los Angeles, the film serves as an intimate eulogy for Latasha – one delivered as memories about her become less immediate.

Whatever justified rage the Los Angeles rioters might have felt in 1992 is not the dominant force in Allison’s film. A Love Song for Latasha is foremost a cinematic lament rather than a political polemic. With the reenacted scenes edited and appearing as if it resembling a home movie, this piece appears like a visualization of the memories that the interviewees are recalling. When Latasha was murdered, she ceased to be just a daughter or a friend. A Love Song for Latasha, thirty years on, seeks to reclaim those distinctions for those who knew her best – something, given the significance of Latasha’s murder in history, that may never happen.

My rating: 6.5/10

Do Not Split (2020, Norway)

From Norwegian documentarian-journalist Anders Hammer comes Do Not Split, a street-level glimpse into the protests against the 2019 Extradition Law Amendment Bill (ELAB) that inspired the passage of the 2020 Hong Kong national security law. The events depicted in Hammer’s film include the Hong Kong police’s sieges of the Chinese University of Hong Kong (CUHK) and Hong Kong Polytechnic University, in addition to small-scale clashes between protesters and police, as well as mainland Chinese instigating confrontations. Hammer’s footage is harrowing material, a collection of violent imagery with few moments of individual revelation or introspection outside of the presence of Michigan-born activist Joey Siu. Do Not Split decides not to attempt a dialectic of why the Chinese Communist Party (CCP) and the Hong Kong Legislative Council (LegCo) are pursuing these changes and are brutalizing the protesters, depriving this film of the context that less knowledgeable viewers might need. For those who have been keeping at least superficially aware of events in Hong Kong, there is never any question on which side Hammer is on – despite Hammer’s journalistic background, this is not a piece of objective journalism.

Yet this is not agitprop due to the politics left mostly unexplained, and none of Do Not Split’s flaws take away from the rawness of the protesters’ desperation and the cynicism of the police and government officials enacting the crackdown. Despite the repetitive nature of the footage by the time it reaches the final stages of its thirty-five-minute runtime, Do Not Split contains excellent, crisp hand-held footage that makes immediate sense of the space and time of the depicted violence.

My rating: 8/10

Hunger Ward (2020)

For Pluto TV (some cord-cutting television service I was not familiar with until I started writing this) and MTV Films and directed by Skye Fitzgerald (2018 Oscar-nominated short film Lifeboat), Hunger Ward follows doctor Aida Al-sadeeq and nurse Mekkia Mahdi as they treat malnourished children in the midst of ongoing the Yemeni famine. The famine, directly related to the civil war that began in late 2014, has seen almost a hundred thousand children die in what UNICEF describes as, “the largest humanitarian crisis in the world.” Fitzgerald film works best when focusing on Al-sadeeq and Mahdi, as they describe the heartbreak conditions of the hunger ward and their experiences since the famine began. However, much of Hunger Ward’s footage is too in-your-face with footage of the mothers’ grieving and the last moments of several children. It appears almost as if gawking at the desperation and death that occurs every day in this hospital.

This is not to say that there is no revelation in the image of a child with their eyes glazed in lifelessness or the unearthly wails of a mother overtaken by grief. Fitzgerald edits and shoots their film in a way that makes this process – a child in their last moments of care, a declaration of death, a shot of the child’s corpse, a cut to the mother inside or arriving to the deathbed, and the echoing despair – occur tediously in their movie. Hunger Ward never breaks from this tedious formula. The film is redeemed only by withholding its slings and arrows until some text prior to the end credits, correctly assigning responsibility with Western nations that have enabled and abetted the violence in Yemen.

My rating: 6/10

Colette (2020)

Colette Marin-Catherine is in her twilight years and, upon first appearances, one might not predict the incredible life story that she has to tell. She was a French Resistance member, and French Resistance narratives tend to be sidelined in favor of those depicting Allied soldiers liberating France instead. But Anthony Giacchino’s (the brother of composer Michael Giacchino) film, distributed by British newspaper The Guardian and made for an extra feature of the virtual reality (VR) video game Medal of Honor: Above and Beyond, decides to linger on the memories of Colette’s murdered brother, who died at Mittelbau-Dora concentration camp in Germany, instead. At the urging and with the assistance of the young historian Lucie Fouble, who is interested in telling Colette’s story (although technically this is not Colette’s story), Colette travels to Germany to visit the site of Mittelbau-Dora so that Colette can… spill out her feelings?

It is self-evident that Colette does not see the academic or personal value of such a trip, but the irascible subject of this short film will nevertheless humor Fouble – her intentions genuine, her approach questionable. Colette, who cannot forget the loss of brother but has not been dwelling on his death, is emotionally vulnerable throughout the trip to Germany, and the audience learns little about Colette, German atrocities, or her brother. Even in these moments, she remains a compelling figure on-screen, but this movie is a disservice to its eponymous subject – one who deserves more credit as a member of the French Resistance, as someone not defined by the worst thing that had ever happened to her.

My rating: 6/10

A Concerto Is a Conversation (2020)

Distributed by The New York Times and executive produced by Ava DuVernay, Ben Proudfoot and Kris Bower direct a deeply personal documentary short film to bookend this slate of five. A Concerto Is a Conversation contains a conversation between Kris Bowers (composer on 2018’s Green Book and 2021’s The United States vs. Billie Holiday) and his grandfather, Horace Bowers Sr., before the premiere of Bower’s concerto at the Walt Disney Concert Hall in Los Angeles. What follows is a disjointed film with sketches of Jim Crow-era America from Horace’s past to the anxiety-laden self-questioning of Kris’ present. Kris, as a black man, is questioning his place in the classical music world – which has, justifiably in some ways, been seen as staid and white. If A Concerto Is Not a Conversation can bridge the differences between Horace and Kris’ stories, it barely does so thank to the scattershot editing.

Yet Kris and Horace’s conversation is wholesome, admiring, loving. This is Kris’ way to show his appreciation for his grandfather and the struggles that he endured for most of his life. The out-of-focus background makes A Concerto Is Not a Conversation seem almost like a dream, a meeting that almost should not be happening. And in honoring Kris’ profession and the piece that is set to debut, the film is divided into noticeable thirds – just like a concerto’s three movements. A Concerto Is Not a Conversation might not make for the most cohesive viewing, but it is a celebration of a profound bond, tied together by forces that defy even the most eloquent words: music and love.

My rating: 6.5/10

^ All ratings based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

From previous years: 88th Academy Awards (2016), 89th (2017), 90th (2018), 91st (2019) and 92nd (2020).

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brian-in-finance · 3 years ago

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Movie-loving British period drama fans have had a busy year.

With cinemas kept closed for the majority of 2020 due to the coronavirus pandemic, many exciting titles had their release dates postponed, resulting in a year that was jam-packed with new films to watch.

Here, in alphabetical order, is every new British historical and period drama movie from 2021!

What’s it about?

Caitriona Balfe (Outlander), Judi Dench (Skyfall), and Jamie Dornan (50 Shades of Grey) star in this poignant story of love, laughter and loss in one boy’s childhood.

Written and directed by Academy Award nominee Kenneth Branagh, Belfast is set amid the music and social tumult of the late 1960s in Northern Ireland.

What did the reviews say?

“There is a terrific warmth and tenderness to Kenneth Branagh’s elegiac, autobiographical movie about the Belfast of his childhood: spryly written, beautifully acted and shot in a lustrous monochrome, with set pieces, madeleines and epiphanies that feel like a more emollient version of Terence Davies.” ★★★★★ – The Guardian

“It’s a film of formal beauty, letter-perfect performances, complex and textured writing (also from Branagh) and enough comedic one-liners and Van Morrison musical montages to make you forget that you’re watching a drama about seething sectarian hatreds. It will nab an easy best picture Oscar nomination next year.” ★★★★★ – The Times

What’s it about?

Based on actual events, World War II drama Six Minutes to Midnight stars Judi Dench (Casino Royale), James D’Arcy (Broadchurch), Jim Broadbent (War and Peace), and Eddie Izzard (Victoria & Abdul).

In the summer of 1939, influential families in Nazi Germany have sent their daughters to a finishing school in an English seaside town to learn the language and be ambassadors for a future looking National Socialist. A teacher there sees what is coming and is trying to raise the alarm. But the authorities believe he is the problem.

What did the reviews say?

“There’s a fascinating film — a mix of The Beguiled and Picnic at Hanging Rock — trying to escape from this creaky passion project of Eddie Izzard’s.” ★★ – The Times

“Judi Dench and Jim Broadbent co-star in a peculiar blend of spy thriller and Ealing comedy that wobbles tonally but will keep you smiling.” ★★★ – The Telegraph

What’s it about?

Based on Stephen Michael Shearer’s An Unquiet Life, this movie – originally titled An Unquiet Life – stars Hugh Bonneville (Downton Abbey) as Roald Dahl in the early 1960s as the British children’s author struggles to write some of his most famous works. Brian’s note: Sam Heughan (Outlander) plays Paul Newman.

The story focuses on Dahl’s marriage to American actress Patricia Neal, played by The Durrells star Keeley Hawes.

What did the reviews say?

“Hugh Bonneville steps effortlessly into the role of the author, portraying a slightly eccentric yet ultimately grief-stricken man on the brink of a creative jackpot. Due praise must also be awarded to Keeley Hawes whose portrayal of Patricia Neal is equally enthralling.” ★★★★ – The Upcoming

“A well-intentioned biopic about a little-discussed but pivotal moment for both artists. If it’s never transcendent, it at least offers charming child performances, and Hawes is a particularly good fit as Neal. ” ★★★ – Empire

Complete 2021 list: https://britishperioddramas.com/lists/2021-best-new-british-period-drama-movies/

2022 is looking like another exciting year for British period drama fans.

Here, in alphabetical order, are all the new British historical and period drama movies you need to see next year!

What’s it about?

Kenneth Branagh returns as Hercule Poirot in the sequel to 2017’s Murder on the Orient Express.

Based on Agatha Christie’s classic murder mystery novel, Death on the Nile sees Poirot investigate a murder while on a luxury cruise on the Nile River in Egypt.

The all-star cast includes Gal Gadot (Wonder Woman), Armie Hammer (Call Me By Your Name), Rose Leslie (Downton Abbey), Letitia Wright (Black Panther), Annette Bening (American Beauty), Ali Fazal (Victoria & Abdul), Sophie Okonedo (Christopher Robin), Tom Bateman (Vanity Fair), Jennifer Saunders (Absolutely Fabulous), Dawn French (The Vicar of Dibley), and comedian Russell Brand.

When’s it out?

Death on the Nile will finally sail in to cinemas in February.

What’s it about?

Set in 1862 and based on Emma Donoghue’s 2016 novel, this Irish period drama movie stars Florence Pugh (Little Women), Tom Burke (The Musketeers), Niamh Algar (Deceit), Toby Jones (Dad’s Army), and Ciarán Hinds (The Woman in Black).

The Wonder follows a young girl who stops eating, but remains miraculously alive and well. English nurse Lib Wright is brought to a tiny village to investigate, as tourists and pilgrims flock to witness the girl who is said to have survived without food for months. Is the village harbouring a saint ‘surviving on manna from heaven’ or are there more ominous motives at work?

When’s it out?

The Wonder will premiere on Netflix in 2022.

Complete 2022 list: https://britishperioddramas.com/lists/2022-best-new-british-period-drama-movies/

Remember the last time you didn’t enjoy a British period drama?

#Tait rhymes with hat #Good times #BelfastMovie #British Period Dramas #19 December 2021 #22 December 2021 #Belfast #Now in North America #Worldwide 2022 #Twitter

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popculturebuffet · 4 years ago

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Life And Times of Scrooge McDuck Retrospective: The New Laird of Castle McDuck! “And I’ll Remember It Poppa! There’s Always Another Rainbow!”

Hello all you happy people! And welcome back to my look at the Life and Times of Scrooge McDuck! And to make up for lost time im’ doing two instalments this month, and with luck and my schedule holding out I plan to finish the main series in September, doubling up again for the last two months to finish this up.

Background wise there’s honestly not a lot this go round, as it’s less rooted in history and more Don Rosa’s need to settle an annoying flaw with continuity. Man oh man do I relate to that and having read comics for at least half my life, i’ve seen writers do this by the bucketload to fix decisions from other writers. Sometimes for the write reasons and sometimes because EVERYTHING WAS BETTER ON MY EARTH. Don Rosa, like most writers.. has done both.

Here though it’s for the good and for understandable reasons: Barks had Scrooge’s origin as a poor shoeshine boy from Glasgow.. but also had a rather famous and awesome story, the Old Castle’s Secret, that also gave them a giant ancestral castle. Rosa fixed this by having the McDuck’s having lost it due to a combination of being driven off the land by a fake ghost dog and poor turns of fourtune meaning they coudln’t pay the taxes to live there and were behind on taxes on it, hence the Whiskervilles having taken it over in part one.

But obviously the Whiskervilles coudln’t KEEP the castle as Scrooge owned it in present day, thus this chapter explains how he got it. It was a stroke of genius plot wise too as it allowed him to open each act in Scotland and using the castle to measure where Scrooge is in life: As a boy dreaming of getting it back, as a young man who while not a success succeeds at this, and as an older hardned man who realizes he simply doesn’t belong here anymore who has to leave his family’s legacy here behind to start a better one in America.

The only other real story is that a sequence here was based on the film A Matter of Life and Death, and Rosa detailed in his notes his quest to get a copy as the distribution rights here were a nightmare at the time. Thankfully that’s clearly changed as a quick look on Amazon shows both a standard DVD release, mentioned by rosa in the book and a snazzier release by the Criteron Collection are both easily available. He ended up getting a copy from Canada, and while he didn’t get any insight at least got a neat addition to his collection. Admittedly this dosen’t add much to the story, I just thought it was neat. So with all of that settled, join me after the cut as Scrooge tries to buy back his family’s legacy.

And Scrooge has already arrived in Scotland, having reunited with Downy and Matilda, who as a refresher is more responsible and straightlaced here versus the 2017 incarnation. Part of me DOES wish they hadn’t glossed over the reunion especially since this chapter is the last time we’ll see Scrooge and his Mom together before her utterly heartbreaking passing a few chapters down the road. But I get why we opened here instead: it’s a captivating open, with Scrooge speeding to the castle, his mother and sister trying to stave the rain off and time clearly of the essence. It sucks you in as we don’t know WHY Scrooge was summoned last time, only that it was bad enough he needed to come home, and thus ratchet’s up the tension until we find out shortly.

It turns out the back taxes on Castle McDuck are up and the castle is being sold., doing so with some glasses, foreshadowing his iconic specs wearing as the snow and brightness of the praries in various seasons mean his eyes are all done fucked up like mine. The Whiskervilles are naturally not only the prospective buyer but already trying to take the property prematurely, with Fergus and Jake holding the line, because love isn’t always on time. But Hortense is and when the Whiskervilles mock her daddy and uncle, planning to tear down the castle out of spite, her response reminds us why donald is a ball of rage and badassery...

Have I mentioned she’s my favorite part of this story? Because she is. Her response to scrooge being back is also just pure adorable.

Scrooge does get a big reunion with his dad and uncle, getting a big hug from Fergus, if squshing his cream cheese sandwitch... and yes that’s apparently a real thing. I mean I do love me some cream cheese don’t get me wrong, but it just feels weird to put it on bread as the only thing, but I guess i’m a bit spoiled with crackers and bagels in my day and age or putting it on tosat with salmon and.. saying all of this both makes me very hungry for cream cheese. So I guess i’ts not all bad it’s just weird to me, especially since I don’t think it’d keep all that well unregrigrated but I also don’t know the times that well. Or maybe when your that poor and hungry, it dosen’t matter how good it is and maybe i’m just spoiled by my upper middle class existance. I dunno. The point is i’m going to go get me some cream cheese be back in a minute. Here have some music.

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For all two of you that didn’t clear out, Fergus naturally for the time, turns out to be sexist, insisting Jake get “The Women” home.

Though Rosa gets a great joke out of it by having Jake wonder if he can even reign Hortense in. And I do love Hortense’s character. Whlie i’ts simple, she’s simply an angrier version of her son without the penchant for half-assed schemes, it works and makes her stand out against the more subdued rest of the McDuck family outside of Scrooge.

Fergus explains HOW it got so bad to Scrooge: While the McDuck ancestors pooled resources to automatically pay the taxes, eventually only having two poor old men who could barely keep their family fed and a slightly less poor pulp fiction writer somewhere in America meant the taxes piled up and the Whiskervilles are within a whisker’s reach of gettng the castle, something mentioned in part 1.

It also provides a great payoff to the first part of Scrooge’s journey: while the boy bemoans only having gotten the 10,000 dollar check from the mine sale, and that will only just about cover the castle’s taxes, he feels disheratned as it’s ALL he’s accomplished.. but in a nice moment from Fergus he points it WASN’T all for nothing: Thanks to his work they get their home back. His family can move from the cramped confines of Dismal Downs back to their ancestral homeland like they always deserved. While he may of not achieved his goal of being rich yet.. he still achieved his goal of buying the castle back, the very thing that set him on this path in the first place. It’s telling though that it takes a reminder of that, that Scrooge is loosing sight of the very human, for lack of a better term, reasons he set out: while he’s finally built a better life for his family, if just so.. all he can see is that he’s not RICH. The money is starting to cloud his judgement.. and i’tll roll over him entirely before the series is over.

The Head of the Whiskervilles shows up with the Sheirff.. whose also a Whiskerville lest you thought unfair and crooked policing was a strictly american thing. But Fergus points out their too early.. and Scrooge flashes his check. And when the Head Whiskerville scoffs at a mcduck having money... Scrooge points out he didn’t believe in ghosts either and brags about his awesomeness in the first chapter, revealing what he did and leaving The SHierff pissed and the older whiskerville ready with a plan: he decide......

Sadly not with children’s trading cards but with swords, and gets past the legality issue by simply challenging Scrooge’s pride and angering him into accepting. Argus, the head whiskerville whose name I just got from the comic, reveals his plan to the Shierff: While he’s dueling Scrooge Sheirff can snatch the bank statment.. though why Scrooge didn’t you know, cash it before coming and how an american banks tatment is valid in early 1900′s Scotland...

So the Duel is on.. and like the money he’s made, the Duel is another Marker of how far Scrooge has come and how despite still not having made his fortune yet he’s rich with EXPERINCE. His experince fighting cattle rustlers and pirates means he has the reflexes to easily outfight his opponent.. though him saying he learned how to fight “Injun Style from Buffallo Bill”, i.e. learned how to fight like a native american from a white guy and beat Sitting Bull with it just makes me feel like i’m watching that episode of Saved by the Bell where Zach has to learn not to be racist but then thinks this outfit is acceptable.

Scrooge also tracks the guy using the tracking skills he learned from the blackfeet which again feel like the picture above , but send Argus running.. only to lure Scrooge into a fight on the castle battlemnt in the pooring rain and disarming him. Luckily the spirit of Sir Quackly gives the lad his sword back and Scrooge wins the fight.. but promptly gets hit by lighting while celebrating Caddyshack style.

No really Scrooge is.. or close as he got knocked into the water and is now in heaven. Sir Quackly naturally doesn’t want to see the last hope of the Clan McDuck dies and goes to talk to the tribunal of McDucks to sort it out hence the Matter of Life And Death connection.

The Tribunal is made up of former McDucks.. it turns out Scrooge is here because of Quackly: the lighting was SUPPOSED to hit the tower, distracting Argus, and they prepare to write Scrooge off because their more concerned with golf than the fact that their whole clan’s future is on the line.. which I do not get because unless you are Tiger Woods or the Film Caddyshack, golf usually is the boring garbage water of sports and this is from someone who dosen’t like sports to begin with. I do like the Missing Links of Moorshire though so there’s that. And golf episodes of shows are usually good.. the sport itself is just incredibly boring. And I sat through Mank. I know boring. I know wanting hours of my life back. Golf is the Mank of Sports.

What we get is a pretty tiresome sequence honestly: Quackly points out the tribuanls faults while their just dicks who only care about golf. Which again, Mank of sports. Or if you prefer the Cloud Atlas of sports but with SLIGHTLY less untetionall racisim and sadly much less Tom Hanks and Hugh Grant. The point is golf sucks and while I ilke the REST of this chapter this bit just dosen’t work for me and was clearly funnier in Rosa’s head, with the assholes not thinking much of Scrooge’s achievements and only liking him when they find out he’ll be a tight wad, the only funny joke in these draggy as hell three pages, not counting the start and finish of the sequence which arnet bad, as they send him back to earth with Quackly mentioning the dime, but not giving out WHY it’s important. That he has to figure out on his own and all that good stuff.

So Scrooge uses his dime to unscrew the bolts and back at the castle while Argus TRIES to pawn it off as Scrooge being a coward and depart with the bank draft....

Damnnnn that’s badass, he gets the bank note back (only knowing because one of his ancestors mentioned it, though with his memory of the dying dream gone he dosen’t know WHY), and has Fergus run into town to pay the taxes tonight before any other shenanigans happen while he keeps the two scheming dogmen captive long enough for Fergus to get too far for them to catch up. Argus plans to go with plan “Do a murder on Scrooge”.. but fines Scrooge is far from unprotected and not the only badass in his family.. I mean Hortense exists but I mean that ther’es more than two... you know what jut look at the ghost heads.

So the two run for their lives..... also they forgot you know Hortense exists.. she’d revenge murder all of them and they both know it.

So with the land safe and the taxes paid so the Family can implicitly move in, we end on a beautiful sunrise as Scrooge prepares to leave soon. Despite all the setbacks and hardship Scrooge is deterimend to still make it and knows he won’t fail forever. When Fergus mentions Gold at the end of a rainbow, Scrooge takes that, and the golden dawn as a sign. WHen Fergus understandably asks if he’s sure he’ll make it this time.. we get a nice nod to Bark’s best and most notable painting “always another rainbow to close us out”

It’s a beauitful and inspiring statment.. no matter what you face.. there’s always a light at the end of it. Always another opportunity, another goal to reach, another hill to climb.. and life to live... and it’s one i’ve taken to heart and always will.. and one that will land Scrooge his fortune yet.

Final Thoughts: This chapter is alright but like I said the two page sequence in heaven dosen’t really work for me. It’s just not funny enough and really shoudl’ve been trimmed down a page so we could get more character stuff with Scrooge and his family> Otherwise it’s a tightly paced thrilling chapter in Scrooge’s life, showing just how far he’s come and how far he has left to go. The DIsmal Downs chapter serve as a good marker of where Scrooge is and where he’s heading as I mentioned earlier, with this one showing that while he’s not hit his goal yet, he still got his family their true home back, beat his enmeis and is a legend to be. Ther’es always another rainbow.. and he just needs to find it. All in all a decent chapter outside those two pages, and a good setup for the next three glorious chapters.

Next Month on LIfe and Times: One is Scroogey and the other is FLINTHEART GLOMGOLD, as Scrooge meets his arch enemy and rides a motherfucking lion. And if “rides a motherfucking lion” doesn’t make you come back I do not know why you read this. Next Time On This BLog: What is that, that Freaky Thing? It’s A naked Mole rat as we return to Kauai this time with Kim Possible and Co as Drakken tries to capture stitch and Jumba wonders if Rufus is one of his or not.

See you at the next rainbow

#the life and times of scrooge mcduck #the new laird of castle mcduck #scrooge mcduck #fergus mcduck #jake mcduck #downy mcduck #hortense duck #hortense mcduck #matilda mcduck #don rosa #comics #fantagraphics

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crowdvscritic · 4 years ago

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round up // JANUARY 21

New year, not-so-new Crowd vs. Critic! It’s another batch of films, TV, music, and reads that were new to me this month and think you would enjoy, too. As we cozy up inside for the winter, nothing warms you up like a good piece of pop culture.

January Crowd-Pleasers

Wonder Woman 1984 (2020)

Does this sequel reach the heights of 2017’s Wonder Woman? No, but I wish more superhero movies were like this one. I explain why at ZekeFilm. Crowd: 9.5/10 // Critic: 8/10

21 Bridges (2019)

A solid action crime thriller with a solid Chadwick Boseman at the center. Crowd: 8.5/10 // Critic: 7.5/10

The Lethal Weapon Series (1987-98)

I watched the first Lethal Weapon in 2017 for ZekeFilm, but now I’ve a decade’s pleasure of progressively over-the-top action sequences and progressively more absurd ways to destroy Roger Murtaugh’s (Danny Glover) house. The Murtaugh/Riggs bromance holds this progressively sillier series together, and an supporting cast of charismatic actors (Jet Li, Darlene Love, Chris Rock, Rene Russo) are game for whatever comes their way. Joe Pesci is the true MVP. Series Crowd: 9/10 // Series Critic: 7/10

The High Note (2020)

Tracee Ellis Ross’s Grace Davis is a diva in every sense of the word. A high-strung and highly successful singer, she’s also highly demanding of her assistant Maggie (Dakota Johnson), who wants to step out of her shadow and become a music producer. This rom-com-adjacent flick is one of the most fun escapes I’ve had from a 2020 movie, and it’s perfect for a girls’ night in. Crowd: 8.5/10 // Critic: 7/10

Double Feature—Rom-Coms With a Magical Twist: Just My Luck (2006) + When In Rome (2010)

Disclaimer: These movies are not good. In fact, they’re junk, but they’re my kind of junk. In Just My Luck (Crowd: 7.5/10 // Critic: 6/10), Lindsay Lohan loses her life-long lucky streak when she kisses schlimazel Chris Pine. And When in Rome (Crowd: 8/10 // Critic: 6/10), Kristen Bell attracts unwanted admirers (Will Arnett, Danny DeVito, Josh Duhamel, Jon Heder, and real-life future husband Dax Shepard) after she steals their coins from a wishing fountain. To their credit, both of these movies know they’re silly, which means you have permission to just sit back and laugh along with (or, honestly, at) them.

WandaVision (2021)

I sometimes fear for the world of entertainment when I think of how much intellectual property Disney has gobbled up, but WandaVision is evidence the company is a benevolent dictator at least for now. This odd delight is a send up and a tribute to sitcoms like I Love Lucy, I Dream of Jeannie, and The Brady Bunch, and Paul Bettany and Elizabeth Olsen are so charming and weird I don’t need whatever mysterious sub-plot they’re building.

Robin Hood: Men in Tights (1993)

If you want to make the most of watching Robin Hood: Men in Tights, first watch Robin Hood: Prince of Thieves (1991), an action flick I saw last February and didn’t include in my monthly Round Up. This Mel Brooks spoof is a direct response that self-serious Kevin Costner adventure, even down to copying its costumes. While I wish I could find a Mel Brooks comedy with any substantial female character (in every movie I’ve seen so far, the joke is either, “She’s got a great rack!” or “Wow, she’s an uggo!”), I still couldn’t stop laughing at this 104-minute version of the Robin Hood scene in Shrek. Crowd: 9/10 // Critic: 8/10

Aliens (1986)

Peak ‘80s action. Peak alien grossness. Peak girl boss Sigourney Weaver. Crowd: 9/10 // Critic: 8/.510

Big (1988)

After talking about Laverne & Shirley with Kyla on SO IT’S A SHOW?, I had to check out Penny Marshall’s classic. While a few moments haven’t aged so well, its heart is sweet and the script is hilarious. And that Tom Hanks? I think he’s going places. Crowd: 9.5/10 // Critic: 8/10

Unstoppable (2010)

I’ve laughed at SNL’s spoof of this movie for a decade, so it’s about time I got around to enjoying this action thriller very loosely based on the true story of a train that got away from its conductor. Denzel Washington (“You’re too old!”) and Chris Pine (“You’re too young!”) are our heroes in this over-the-top ridiculousness, and their chemistry is so extra it makes me hope they team up for another movie again. Crowd: 9/10 // Critic: 7/10

January Critic Picks

Double Feature—‘90s Space Adventures: Apollo 13 (1995) + Contact (1997)

I have no desire to join Tom Cruise as he films in space, but I know I’ll be pumped to watch whatever he makes because I love sci-fi and space adventures. Apollo 13 (Crowd: 9/10 // Critic: 9/10) tells the story of an almost-disastrous NASA mission in the ‘60s, and it taps into our hope for the human spirit to overcome obstacles. Contact (Crowd: 8.5/10 // Critic: 8.5/10) surmises what might happen if we received communication from extraterrestrial life, and it taps into our struggle to reconcile faith and science.

McCartney III by Paul McCartney (2020)

I spent January catching up on the albums on Best of 2020 lists, and the one I listened to for hours and hours was Paul McCartney’s latest solo album. Catchy, thoughtful, and musically surprising, it ranges from pop to rock to folk in 45 minutes and still feels like it’s over too soon. Like Tom Hanks, this Paul McCartney guy is going places!

The Thin Man Series (1934-47)

Like Lethal Weapon, I watched the first installment of The Thin Man awhile back, and Kyla and I even covered the series on our podcast. But thanks to a full series marathon on TCM earlier this month, I’ve now laughed through all five. When you talk about great chemistry, you’ve got to talk about William Powell and Myrna Loy, who make Nick and Nora’s marriage feel lived in and romantic as they solve crimes together. Witty, suspenseful, and jaunty, this series is still sexy cool over 80 years later. (Also, Asta? Still one of the cutest dogs in cinema.) Series Crowd: 8.5/10 // Critic: 8.5/10

The King and I (1956)

Here’s your regularly scheduled reminder Hollywood works differently now, and many casting decisions of the ‘50s wouldn’t fly today. What has aged well in this film: The Rodgers and Hammerstein music and the sumptuous costumes and set design. I love extravagant musicals of yesteryear—perhaps it’s time for Hollywood to revisit and remake The King and I for modern audiences?

youtube

Inauguration Day

In a year with no major televised events with celebrities in a room together, Inauguration Day felt like the most exciting cultural event in ages. We’ve been missing major fashion, but then we got Lady Gaga! We’ve been missing live performances, but then we got Amanda Gorman! And I got a lot of tears during that poem—not just me, right?

Good Reads

Writing that made me think and smile this month:

Steven Soderbergh’s list of everything he read, watched, and listened to this year, Extension765.com (2020) – An indirect inspiration for these monthly Round Ups!

“My Year of Making Lists,” NewYorker.com (2020) – I made a lot of lists in 2020, so I feel this author’s #mood

“Betty White Says She Will Spend Her 99th Birthday Feeding Two Ducks Who Visit Her ‘Every Day,’“ CBSNews.com (2021) - “Betty is a treasure,” I say as I watch The Proposal for the 99th time

“A Sculpture’s Unusual Journey to SLAM [St. Louis Art Museum],” SLAM.org (2020) – With a casual mention of an attraction I never knew about in St. Louis

“The Culture Is Ailing. It’s Time for a Dr. Fauci for the Arts.” WashingtonPost.com (2020) – An idea that occurred to me a few months ago: Why don’t we have an Arts Cabinet?

“The Arts Are in Crisis. Here’s How Biden Can Help.” NYTimes.com (2021) – Partly in response to that Washington Post piece, a historical look at how artists have made it through difficult times in the past and how we can revive artists’ livelihoods mid- and post-pandemic

“The Right’s Message to Silicon Valley: 'Free Speech for Me, But Not for Thee,'” TIME.com (2021) – A more thoughtful and less reactionary take on a volatile moment in the history of modern technology

“'It Makes Me Sick With Grief': Trump's Presidency Divided Families. What Happens to Them Now?” TIME.com (2021) – A study on how politics has done damage to family dynamics in America

“Help, the Only Cinema I Can Handle Is Zac Efron Prancing Angrily in High School Musical 2,” Vulture.com (2021) - In a lot of ways, same

“50 Easy Things To Do When You are Anxious,” ShopTwentySeven.com (2021) – I especially endorse coloring, puzzling, and watching happy movies!

Double Feature—Miss Marple Mysteries: Murder at the Gallop (1963) + Murder Ahoy (1964)

Remember when I was all like, “Watch these Agatha Christie movies so you’re not sad Death on the Nile is delayed”? Remember when I said I was just a few movies away from becoming an Agatha Christie junkie? Well, I think I’m there because I can’t stop with the murder mysteries! Margaret Rutherford is a treasure whether she’s solving a murder at a horse ranch or on a boat, and a cast of colorful supporting characters (including Rutherford’s husband) makes these breezy instead of heavy. Crowd: 8/10 // Critic: 8/10

8½ (1963)

File this with 2001: A Space Odyssey—I don’t know if I really understood this film, but I think I liked it? Federico Fellini’s surrealist, male gaze-y drama blurs the lines between reality and imagination, love and dysfunction, and the past and maybe some future that involves clowns? What resonated with me was the story of a director with creative block, wondering if he’s already peaked and if he’ll create anything worthwhile again. Crowd: 6/10 // Critic: 9/10

Sense and Sensibility: The Screenplay and Diaries by Emma Thompson (1995)

Sense and Sensibility is not just one of my favorite Jane Austen adaptations—it’s one of my all-time favorite films. One of the co-hosts of one of my favorite podcasts has raved many-a-time about Emma Thompson’s journals from the making of film, so it was only a matter of time before I read them myself. Witty, informative, and all-around lovely, Thompson’s journals are an excellent insight into the filmmaking process and how novels are adapted.

Also in January…

I reviewed the new-ish documentary Flannery for ZekeFilm, which is all about the writer Flannery O’Connor and feels a little like going back to high school English class.

In addition to the Lethal Weapon and Thin Man series, I rewatched all of the X-Men series this month. You can see everything I am watching on Letterboxd, including favorites I love returning to (i.e. X-Men: Days of Future Past) and the movies I try that don’t make my monthly recommendations (i.e. The Wolverine).

Photo credits: Paul McCartney, Zac Efron, Sense & Sensibility. All others IMDb.com.

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fuckyeahgemmathompson · 4 years ago

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Savages: Interview with Gemma Thompson & Ayse Hassan

Note: this interview was originally written in German and I used translator to post this into English.

From Gitarrebass.de, February 2017

What originally sparked your interest in music?

Gemma: I remember hearing the John Peel session on the radio. As a teenager, Sonic Youth and Nirvana came along, along with musicians like Rowland S. Howard, Blixa Bargeld and Duke Garwood. But I find it boring to say the inspiration came from this or that genre, I can't just name one band that has influenced my life. I also like classical music, for example.

Ayse: For me there is no single triggering moment, it is more of a collection of moments. When I was very young I loved listening to radio broadcasts. My parents listened to very different types of music and I can't remember a time when I didn't listen to music.

When did you start playing yourself?

Ayse: There was a music department in the primary school and when I was six I started playing various instruments.

Gemma: Flute too?

Ayse: I once played the flute, which is usually the first instrument in England (both laugh)

How did you get into bass?

Ayse: I just wanted to make music. I played guitar for a while, but it wasn't really fun. Then I picked up the bass and liked the sounds I could make with it and got into a couple of punk bands.

Then you taught yourself the typical eighth punk bass?

Ayse: Yes, that's the most exciting way to learn. You have to find your own way of playing an instrument, you don't have to follow any rules.

And with you Gemma?

Gemma: I lived in a shared apartment with musicians. One was a pretty good guitarist and I borrowed his guitar and started making noise.

Your band is often compared to early 80s acts. Do you like the post-punk bands like Bauhaus or Joy Divison?

Gemma: Yeah, sure. We grew up listening to these bands, but it's so important to be relevant to the time you are in. The first album had a kind of gang mentality. We fought against people who were around us. It's something these old bands did too, resisting what the people or the music industry expected of you and trying to be yourself.

Many of the post-punk musicians hardly had traditional skills on their instruments and therefore tried to find new sounds and styles. Do you feel connected to this concept?

Ayse: Yeah, I think so!

Gemma: The first thing I wanted to learn on the guitar was Rowland S. Howard's line from The Birthday Party song 'Happy Birthday' and suddenly I understood that I can't play like that because I'm not him. There are sounds that you can only make when you are a certain person and that interested me a lot more than playing by tablature ... the idea of becoming a personality who embodies a sound.

Do you still have role models?

Ayse: There are bassists like John Deacon from Queen or JJ Burnel from The Stranglers that I like, but I tend to find other things that inspire me to make music. The way people think, the power behind music, doing what you have to and doing it as well as you can with your abilities. I could die tomorrow and I just want to make music and be true to myself, that inspires me to be in the moment and make music now! (laughs)

Detailed Gemma’s guitar interview

What guitars do you play?

Gemma: A 1966 Duo Sonic and 1963 Jaguar with a 1972 neck.

Was Rowland S. Howard the inspiration for the Jaguar? It looks a lot like his model.

Gemma: Yeah, it does. I wrote everything on the Duo Sonic, it was always my main guitar, but to record 'Adore Life' I rented a Jag and recorded some songs with it, e.g. 'The Answer'. That's why I looked for and bought a Jaguar afterwards. Now I use both guitars for different parts.

You have mentioned Rowland S. Howard in many interviews. What do you like about his game?

Gemma: There's this great film about him called 'Autoluminiscent' and there is someone who says about him, I think Henry Rollins: “This man looks like his guitar sounds.” I really like this idea that everything embodies the sound important.

You have two amps on stage.

Gemma: Yes, a Fender Twin and a Vox AC 30 that I play in stereo because I use stereo reverb. I don't switch them and they tend to be more clean.

Is it OK if we talk about your pedals?

Gemma: Yes, of course (both laugh)

... because earlier I wasn't allowed to take photos of your pedalboard, the secret pedalboard.

Gemma:… it's not a secret, but it takes the fun out of people trying things out. I now have a lot of things that are specially made for me and it is constantly changing.

And what do you use?

Gemma: I use various distortion pedals: an MXR Distortion +, a Fulltone OCD, a Maxon Tube Screamer, a Crowther Audio Hotcake Fuzz with a Death By Audio Robot in front of it. In terms of delays, I have a Boss DD-20, a Moog Delay and a Boss RE-20 Space Echo.

Do the effects inspire you to create certain sounds or do you have sounds in your head?

Gemma: I try not to be inspired by the sound of pedals. For me, what you do with the instrument is very clear, the most important thing and the pedals only amplify it. The most interesting thing to me is feedback and how to create it at a certain point and the pedals help set the amp and guitar in motion. They are just tools, as beautiful as they are (laughs)

Do you play loud?

Gemma: Yeah, pretty much ...

In some songs you underline individual words with certain sounds. How do you make sure that it works on stage right now?

Gemma: I sit at home and practice! (laughs)

Your singer (Jehnny Beth) has often mentioned musicians like Nina Simone or John Coltrane in interviews. Do you like jazz?

Gemma: (laughs) These musicians are definitely musical gods!

But you don't practice jazz chords or lines?

Gemma: (laughs) No, it's not me. I try to focus on my own way. When we record, I tend to listen to Rachmaninov or something so that my head is clear of guitars so that I can work on guitars.

Detailed Ayse’s bass interview

Your bass playing is based on trance-like repeating patterns and melodic parts rather than traditional bass grooves. Would you agree with me?

Ayse: I don't disagree, but it's always difficult to look at and classify yourself.

Have you ever learned typical bass grooves in certain styles?

Ayse: There was a point where I started, but I quickly lost interest in it. I wanted to explore by ear what sounds good to me and not follow patterns. If I do something naturally, it is because I found out about it myself and not learned it, and I find that very exciting. I find it more inspiring to work things out myself than to read them.

Is sound more important to you than the bass line? Your parts always have a very sonic quality.

Ayse: When I was growing up, I rebelled against my parents' music and listened to a lot of industrial music. For a long time I wanted to reproduce what Industrial did with synthesizers, make strange sounds in different ways and transfer that to the bass. I saw the bass as a neutral instrument ... that doesn't really make sense (laughs). Sometimes I want to use the bass to create sounds that don't originally come from a bass. I wanted to use repetition but keep it interesting to sound like a machine and that's what I followed as we developed with the band.

Your main instruments are Fender Precision models. What do you like about them?

Ayse: They give me a great tone, sound warm and are simply beautiful instruments that fit my style. I have a 1976 P-Bass and one from the 90s Anniversary Series.

And your amp is the classic Ampeg with slight distortion?

Ayse Hassan: Um, yes (laughs). But on the new album I used pedals more often for distortion: I have a Moda Lisa Fuzz with an oscillator. It sounds like a saw sometimes, but it's a great pedal and it was exciting to find a way to integrate the sound into what we're doing. Then I have a Boss OBD-3 distortion and a RE-20 Space Echo. I switch between my clean main sound, where you can really hear the instrument through the amp, and the distortion / fuzz effect sound.

Do you always play with pick or also with fingers?

Ayse Hassan: I always play with Pick, except when I'm at home ...

... and you play jazz (everyone laughs)

-x

#gemma thompson #ayse hassan #savages band #savagesband #savages #guitarist #bassist #interview

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doomedandstoned · 4 years ago

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Shepherds Crook Doom the Moonlit Sky in Latest LP

~Doomed & Stoned Debuts~

By Billy Goate

Album art based on a painting by Remedios Varo

I've been enamored SHEPHERDS CROOK from the moment I chanced upon 'Black Lake' (2018) some years gone, which inspired an impromptu review. Here is a band that should be, in my mind, every bit as familiar to aficionados of doom metal as Dopethrone, Bongzilla, and Cough. This opinion is founded on more than the strong emotional connection the music has made with me over the years. Every sludge lover I've had occasion to introduce the Trondheim duo to has taken to them immediately. Who can deny the appealing backwoods grit of "Uteseler" or the celebratory toke of "Smoke Diver"?

While their road game has yet to start, their track record in the studio is flawless with two stellar EPs and four highly regarded LPs notched around the belt already. The principal drivers of this project are multi-instrumentalist Ole Hell and vocalist Nestor. Together, they're a force to be reckoned with in the heavy underground, with Ole's penchant for composing dank rhythms and forlorn guitar leads that touch a nerve every time. Nestor completes the picture with characteristic gravelly crooning that carries more evil, hissing ire than a den of pissed off vipers.

Before us lay the latest long-player of the lot, 'Mat For Månen' (2021) -- or "Food For The Moon" -- which is such a brilliant title when you consider how suitable this music is for humid summer nights full of barbeque, beer, and self-loathing. If the dog's fabled bark at the moon could be rendered in relatable terms, it might end up sounding like Shepherds Crook.

"The Narrow" cracks the bottle on the recording with an irradiated strum. This becomes the song's central theme, with bass and drums joining in, followed by Nestor's gruff, caustic strains. This dirge of doom is unrelenting, with the riff simultaneously establishing the melodic core and rhythm. It's a tight track with no room for fat, not even for one of Ole Hell's trademark guitar solos -- though the woeful axeman does drop an ominous footnote during the song's closing seconds.

The titular "Mat For Månen" is next in queue and dons quite a downcast mood, with guest artist Stian Sumstad's basswork carrying the song to several emphatic moments that border on epic. The guitar has an opportunity to really shine on this one, with a melodic lead midway through that seems to be telling us secrets buried in the woods 'neath these mysterious moonlit skies.

Photograph by Magnus Olsen

Though I'm far from an angry drunk, "Barfight" has me feeling the rage that comes along with imbibing a bit too much and making enemies at the table before the night's all said and done. The song sets off a nasty blues vibe that makes me feel braver than I really am, inspiring a swing at my enemies -- real or (in this state likely) imagined.

Our four-song excursion grinds to a finish with "Ingen Morgenkvist" which does sad as only Shepherds Crook can. Though I'm uncertain of the precise meaning ("morgenkvist" has no English equivalent), my best detective work has me believing the song title could be approximated "No Morning Seen." This number has a certain weight to it -- and not merely because of its 16-minute runtime. Despite the familiar joshing about how long doom bands are prone to playing ("I just got here, what did I miss?" "Nothing yet, they're still on their first song!"), it takes strong songwriting and a steady hand of musicianship to pull off low and slow in a way that works convincingly for the listener. Here, the song has a balladic feel (it's based on a poem by poem by Jørgen Nygard) that builds gradually, layer upon layer, with Mr. Hell's guitar doing the kind of singing that defies words, yet somehow succeeds in rendering meaning.

Overall, Mat For Månen is a welcome addition to the Shepherds Crook oeuvre. It succeeds in delivering the unique sound of the band with a depth that gives it staying power. Perhaps it will find a welcome home in your playlist, to. Releasing July 2nd (at which point it will be available for purchase here), the record is presented in its world premiere courtesy of Doomed & Stoned.

Give ear...

LISTEN: · Shepherds Crook - Mat For Månen (2021)

Shepherds Crook: The Rundown

Interview with guitarist Ole Hell Photographs by Magnus Olsen

How did Shepherds Crook get its start?

It started out as some kind of experiment back in 2017 when I (Ole) rented this little studio room in a larger studio space of a friend of mine.

The first track we did was "Outlaw Speedking", based on a riff I made on the spot when I found my acoustic guitar after many many years of not playing. I got myself some new gear and just started to record.Nestor heard it and got hyped, wrote some lyrics and recorded the vocals in one take, first try. We knew that we had to do more songs and about a month later we released Black Lake. We did five releases from 2017 to 2019. I do everything from recording to mixing and mastering, so it's been a learning process for me as far as making heavy music sound good, with every release I think it sounds a little bit better.

Where did the name Shepherds Crook come from?

Actually I thought it was a fascination for walking sticks from hiking in the woods or whatever, but Nestor reminded me the other day that the name came from a dream I had years ago where I was going to make a band called Shepherds Crook. I can't really confirm that as I don't remember. Blame the beers.

How would you describe your "sound" to someone who hasn't yet listened to your records?

We're all over the place as far as I'm concerned. We started out with more of a stoner vibe and kind of mixed in elements of doom and sludge. The vocals might be weird for a lot of stoner rock fans, and the riffs might be too boring for everyone that is into "metal" but likes the vocals. This is our impression from people anyways. But back to the sound; it's heavy riffs, moody melodies and mean vocals. I think we kind of got our own thing going at this point, we care less and less about these "doom" and "stoner" labels these days to be honest.

Walk us through each track on 'Mat For Månen' and tell us about what the songs mean and/or how they originated.

We do like the idea that the listener can interpret and make up his own mind what the tracks mean. But, basically the general idea for the album is the moon and how it connects to organic life on earth. Mat For Månen is norwegian for "Food for the moon" and is based on the same concept laid out by the mystic G. I. Gurdjieff (and to some extent Ouspensky and others), I won't lay the whole thing out here, but if anybody is interested they could check that out.

The tracks touch on this topic in various ways like lunacy, the saturn connection, no dawn, wizards and shit, lol. The songs are also pretty varied on this one, from that stoner doom thing to a more heavy blues vibe, doom and stoner metal.

As a side note, we recorded the album at a place called "Månen" (the moon), the place of a buddy of ours. Cool thing is he joined on vocals for two of the tracks and It sounds awesome. He might be joining us on bass and co-vocals whenever we get our asses on stage.

Speaking of stagework, has Shepherds Crook had a chance to get out and tour much?

I mean, not really. In the beginning it was just me playing all the instruments as a studio project. Then after a while we had a couple of drummers come in and a bass player. We started rehearsing to play live then some of us couldn't make it due to different reasons, etc. We still have plans to make it happen at some point in the near future.

Give us an overview of your discography so far.

Black Lake (2018) Uteseiler (2018) Evil Magician (2018) Carved In Smoke (2019) Dauseiler (2019) Mat For Månen (2021)

Black Lake by Shepherds Crook

Uteseiler by Shepherds Crook

Evil Magician by Shepherds Crook

Carved In Smoke by Shepherds Crook

Dauseiler by Shepherds Crook

Are there any records or songs that you are especially proud of?

I know we're both pretty happy with Uteseiler as a whole and the last track of Dauseiler: "Serpent Ropes". Also, Mat For Månen is pretty decent I would say.

What does the future hold for Shepherds Crook?

I'm in the process of writing riffs for another album, but have no idea when it will be finished. It could take a while. We have other projects going as well.

Nestor (the singer) is now in this black metal band and I'm doing my other thing Vandrer (instrumental doom), you can check it out on vandrer.bandcamp.com.

We also got a new drummer: Trollhammer aka Jan Olav, an old childhood buddy. We were in a death metal band together in the early-mid 90's and he's been in many death metal bands since then.

He will be doing the drums on both Shepherds Crook and Vandrer from now on, bringing that extra punch to the face (and groin area).

What is your philosophy of life? How do you see the world, your place in it, etc.?

Well, we got all kinds of crazy renegade ideas. While we wait for that book, just insert any Lemmy quote of choice!

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enthusiasticmusicalquotes · 5 years ago

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QUESTION OF THE DAY #6: Send me your most unpopular theatre opinion. Something that might make someone want to fight you. Please don’t be offensive (racist, misogynistic, etc.), but other than that…go as hard as you want. Spill all the tea.

MY ANSWERS: 1) The Pretty Woman score fucking slaps idek, 2) Come From Away (or even Bandstand...) should’ve won the 2017 Best Musical Tony, 3) I prefer the West End Heathers cast album to Off Broadway, 4) Shows shouldn’t sweep the Tonys just because they’re Best Musical worthy...shows that aren’t too critically acclaimed but have really impressive elements should get recognition too.

SUMMARY: Out of 37 responses: 5 were about Dear Evan Hansen, 3 were about Hamilton specifically, 2 were about: Rent, ALW, Wicked, In The Heights, Be More Chill, etc. etc....if your favorite musical is one of these and you get easily offended i wouldn’t read these.

NOTE: I agree with some of these, I highly disagree with others. I do not endorse any of the things that were said, I am simply sharing them with you all. These were what was sent to me. I’m going to number them so if you want to complain about or agree with one you can send me an ask with the number you’re referring to.

1. howmuchchildrens said: unpopular opinion: i really liked the 2012 version of les mis. i liked russel crowe as javert.

2. Anonymous said: Unpopular opinion: Bootlegs harm to local theatre communities, though I do not believe anyone intends for that to be the case. While it's possible to bootleg responsibly (and I might even say it's beneficial to do so), those who may not know the intricacies of theatrical copyright law or who haven't heard the horror stories from a theatre that's been hit with legal action DUE to a bootleg may record or watch a show irresponsibly, which can greatly harm other routes of theatre accessibility.

3. Anonymous said: Andrew Lloyd Webber musicals are mostly terrible. He only got and stayed popular because a lot of other musical creators and taste makers died in the AIDS epidemic

4. Anonymous said: Almost all musicals using the songs of one artist are cash grabs with no plot or point.

5. Anonymous said: If your musical only has 1 woman OR the women only get sad/romantic songs you need to do something else with your life.

6. nerdshrimp said: Unpopular opinion: Next To Normal does a better job of portraying the effects of mental illness than Dear Evan Hansen does. N2N also doesn't romanticise mental illness & excuse shitty behavior like DEH tries to

7. Anonymous said: Hadestown is a lesser show on Broadway. I fell in love with the live album, and I was so excited for it to come to Broadway. I was so disappointed to see the changes they made. Orpheus and Eurydice's relationship is less interesting and more generic. The changed lyrics are often sloppy and not as good as the original. They fucking wrecked Epic III. Also, no hate to R/ee/ve, but he's just not a good enough singer to convince me that he could soften the heart of Hades. His high notes are awful.

8. Anonymous said: opinion: we are the tigers deserves a broadway run or at least a proshot

9. bimystique said: e/c is NOT A GOOD FUCKING SHIP. the ENTIRE PLOT OF PHANTOM OF THE OPERA is christine trying to escape erik's abuse. WHAT FUCKING PART OF THAT IS ROMANTIC TO YOU PEOPLE.

10. Anonymous said: unpopular theatre opinion(s): Dear Evan Hansen is Very Bad for its handling of mental illness, Hamilton is overrated and praised too much, and high school/college musical theatre programs can be just as good as Broadway. (also, musical movies would be better if they hired broadway actors, but that's not an unpopular opinion)

11. Anonymous said: I don’t like Lin Manuel Miranda and Hamilton is overrated

12. Anonymous said: I don’t like dear Evan Hansen..... at all. I think it’s kind of boring and really overhyped.

13. Anonymous said: unpopular opinion: in the heights is far better than Hamilton. both are good but ith hits different yknow

14. Anonymous said: The bring it on and legally blonde musicals are BAD! The movies are 100 times better

15. Anonymous said: unpopular opinion? wicked is the epitome of white feminism. it's preached as super great for representation but we literally got the first black glinda in 2019?!?!?!? and before that woc could only play elphaba who's villainized and deemed evil by the whole city

16. Anonymous said: Not so much an opinion as a reaction, but of all Lin's works (ITH, Bring it On, 21 Chump Street, Hamilton), 21 Chump Street gets the biggest emotional reaction of all the cast recordings. The second Justin is like "I don't want your money" (And then later on with the "...what the heck did you.... dooooo", I am a complete goner. Worse than Abuela Claudia and Philip Hamilton's deaths combined

17. Anonymous said: Whenever Je.ssie Mu.eller hits certain notes, she sounds like Tommy Pickles from Rugrats.

18. Anonymous said: aotd6: not everyone knows what im talking about, but the cats 2016 broadway revival choreography was WAYYYY better than the original. the original had a lot of creepy uncomfortable moments and the new one looks way cleaner and up to date

19. Anonymous said: raoul is better than the phantom in every conceivable way

20. Anonymous said: I hate Anastasia so much. it's such a boring show and the music is uninteresting. I wanted to like it so bad but GOD is it boring.

21. Anonymous said: In the Heights.... Overrated.

22. Anonymous said: I do not know if this is an unpopular opinion or not, but here is my opinion: Musicals that are entirely or nearly entirely songs (Hamilton, Hadestown, In The Heights, etc) are the most valid bc I can understand the plot without using wikipedia (I'm looking at you, Jagged Little Pill, I love you but what is your plot????)

23. Anonymous said: I'd rather have a bad film adaptation than no film adaptation

24. Anonymous said: Rent sucks and while it was a stepping stone for more ""controversial"" topics to appear on Broadway it's actually biphobic and features several generally terrible people doing generally terrible things and doesn't actually address the real crisis at all; it's all performative wokeness. The only real good it did was cast a bunch of "nobodies" for the time and make theater somewhat more accessible.

25. stardust-and-seas said: Dear Evan Hansen doesn't properly address mental health despite being about mental health and resolves nobodies character arcs satisfactorily. It's another show that reaches its hands around the throats of marginalized teenagers saying "look I'm relatable!!" The songs taken out of context are significantly more powerful than when placed in the context of the show, which gives us exactly zero evidence of Evan's work to improve and also never resolves Evan's u healthy goals in the first place.

26. stardust-and-seas said: Be More Chill is a raging dumpster fire and the only decent song from it, Michael in the Bathroom, reads as a whiny rich white boy whose potential social anxiety and depression is left ambiguous, which is exactly what it is. When taken out of context it better exemplifies the othering that happens to marginalized groups but lets be real here: bullying/cliques don't happen to "just anyone"; it's the marginalized groups that are othered and abandoned for not being "normal"

27. stardust-and-seas said: There's a difference between shows that don't take themselves seriously because they're meant to be fun and light and shows that pretend not to take themselves too seriously but want to be taken seriously by the audience and the latter always ends up mediocre at best

28. redueka said: i think that dear evan hansen handles every issue it presents badly. i also think that beetlejuice was badly directed

29. Anonymous said: Well I don’t EVER condone cheating, I’m team Jamie in the last five years. He tried so hard to make their relationship and life good, and Cathy gave him nothing in return

30. youcanlolyoucansayohwell said: The answer of the day- I don't get the BMC hype. I'm out of the age bracket it's meant for that might it be. I enjoy it but I don't think it's the greatest thing in the world like some theatre fans do.

31. Anonymous said: i like the rent 2005 recording better than the obcr

32. Anonymous said: unpopular opinion ? : the music of wicked just like isn’t that good. like it’s good but it’s not like, Good, yknow. it’s pretty standard it doesn’t stand out to me. kinda boring

33. Anonymous said: mari.ah r.ose fa.ith is not a good regina george. everything she says sounds monotonous and while i understand she's trying to play off the ""whatever"" teenager (she does this a lot with her teenage characters), 90% of the time she sounds and looks like she doesn't want to be there; her voice is great but most songs feel unnatural and forced and she changes them too much. she's just not selling regina to me as a believable character (this is all from a technical point of view)

34. Anonymous said: Unpopular Opinion: as much as i like musicals based on movies (like waitress), i think not every movie needs to be a musical.

35. Anonymous said: Unpopular opinion (?) the emojiland musical Kinda Slaps

36. Anonymous said: as one of my high school tech theatre teachers once said: "Andrew Lloyd Webber is overrated"

37. Anonymous said: sorry to whoever likes it but Seussical is an absolutely nonsense crackpot plot disguised with okay-to-good music, like I don't even know where to start. I was in the show and didn't even know there was an entire secondary plot line featuring sending children to war until we were halfway through rehearsals

#qotd #not a quote #in some places i put dots in the name so it didn't show up in the tag by accident

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juliaisabellphoto · 4 years ago

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My 2020 Albums of the Year

Never requested, always provided. Here are my favorites of 2020. Here’s the playlist.

The Secret Sisters, Saturn Return

As soon as I saw “Water Witch, featuring Brandi Carlile” on this tracklist I knew that the Secret Sisters would be a favorite of 2020. In February, I was staying with a friend in Nashville and she mentioned them as a local favorite, and when I stopped at Grimey’s to shop for records I came upon a signed copy of “Saturn Return.” I had never heard the Secret Sisters before, but there is nobody I trust more to recommend music than this Nashville friend of mine, so I bought it. I made no mistake here: this record blew me away. The soft, soulful, lullaby of “Healer in the Sky” pulled me through the pain of the first month of quarantine and soothed me as the world was turned upside down. In reading more on the record, this seems to have been the point: they say, “this album is a reflection of us coming to terms with how to find our power in the face of an unfair world… our hope is that women can feel less alone in their journey through the modern world.” There is something in the caramel-thick sweetness of these sisters’ voices that makes a listener feel as though they’ve been bewitched into calm. When I think of this album, I think of the cross-country drive I took at the beginning of the pandemic to make my way home and the happy moments that can be found in darkness. No album touched my heart this year in the way that “Saturn Return” did.

Taylor Swift, Folklore and Evermore

Taylor Swift… can even be said? Somehow, while we all sat on our couches in quarantine, this woman created not one but two musical masterpieces. She begins “the 1” by stating “I’m doin good, I’m on some new shit,” and that says a lot about the album as a whole. She created the 2020 we all wish we experienced: soft, sweet, and gentle. Listening to Folklore feels like visiting a cabin in the woods, with a fireplace well lit. Swift tells winding stories of love, hardship, and mystery and tenderly walks us through the forest of her imagination. This magical feeling was amplified by her release of The Long Pond Studio Sessions, a film in which Swift, Jack Antonoff, and Aaron Dessner finally play the album together for the first time after recording it entirely remotely. The setting matches the sound: they play in an album in the middle of the woods, cozy and hidden from the snow. Evermore cuts through the delicate ice of Folklore: it is the color to Folklore’s black and white. Swift combines the soft folk sound of “willow” with some of her country and Americana roots in “no body, no crime,” drawing us in once again. She includes Bon Iver singing in his lower register in Folklore and then in his falsetto in Evermore: two sides of the same magic coin. The work in these two albums is Swift’s strongest ever, and solidifies the fact that no modern artist can really reach her.

Chris Stapleton, Starting Over

Following a three-year hiatus, all lovers of southern rock deeply needed a Chris Stapleton album. In “Starting Over,” Stapleton yet again does what he does best: combines his unique whiskey-tinged growl with the best lyricism present in country music today. This record can’t be captured in any singular fashion, neither musically nor emotionally. The title track sets a high bar for the rest of the record with a reflection on re-remembering what really matters, a message certainly relevant for this turbulent year. Stapleton’s typical outlaw-country brand is present in full with “Devil Always Made Me Think Twice,” “Arkansas,” and “Hillbilly Blood,” but other songs take him in a completely new stylistic direction. “Maggie’s Song” takes on a very classic old-time country feel, as Stapleton weaves sweet and simple stories as he processes the loss of his pup. He harnesses the energy of the Chicks as he angrily lambasts the perpetrators of the 2017 mass shooting at Route 91. The song is a Stapleton-sponsored judgment day reckoning, including the cacophonic sound of a crowd in panic and the shrieks of a gospel choir. In contrast with this energetic high, Stapleton goes deep into his blues side by finally releasing “You Should Probably Leave,” a song he has been sitting on for six years. This one feels just right to sway around the kitchen to. With each listen to “Starting Over” I find new lyrics to write down and remember, new sounds to love.

Bad Bunny, YHLQMDLG

Bad Bunny. Our unproblematic reggaeton prince. In the wake of his many popular features and his collaborative album with J Balvin, Bad Bunny makes it clear that it is time for Balvin to share the throne of popular reggaeton. He features the original reggaeton king Daddy Yankee in “La Santa,” paying tribute to the very classic reggaeton style before mixing it and transcending beyond the classics in the following tracks. “Yo Perreo Sola” is the album’s standout track, accompanied by my favorite music video of 2020. The song is an ode to gender equality and the destruction of the patriarchal norms contributing to gender-based violence. “Yo Perreo Sola,” meaning “I twerk alone,” sets the overarching theme of consent present throughout the song’s lyrics. In the video, Benito’s backdrop references the Argentinian-born “Ni Una Menos” movement, a now global movement against gender-based violence. As if this wasn’t enough to make you adore him, the video further extends its activism to the LGBTQ community, with Benito appearing in full drag, in his normal attire, and at some points held in chains by women. He makes a statement about sexuality and gender expression in the video, twerking solo. The other jawdropper track on YHLQMDLG is Safaera, a perfect display of Bad Bunny’s skill in expanding the scope of reggaeton as a genre. In the same thirty seconds of the song, he subtly samples both “Could You Be Loved” by Bob Marley and the Wailers and Missy Elliot’s “Get Ya Freak On” - a segment I just can’t get out of my head. Bad Bunny’s prowess on this record is rounded out with the aggressive and prideful “P FKN R.” What a masterpiece.

Mac Miller, Circles

A posthumous record that never should have been posthumous. A companion-piece to Mac’s 2018 record “Swimming,” Circles takes a similar tone, one of resilience through pain. The title track serves as a somber introduction, followed by the funk energy of “Complicated” and the GO:OD AM energy of “Blue World.” The song that really got to me, and many other fans of Mac, was “Good News.” It is the pinnacle of Mac’s musical insight and talent. The melody matches the melancholy of the track, as Mac sings of his desire for time and space. The melancholy is matched in “Everybody” with the lines about death feeling particularly haunting in the wake of Miller’s accidental overdose. Somehow, Miller wrote the perfect eulogy for himself prior to his passing, one that will live in the hearts of his fans forever.

Kali Uchis, Sin Miedo (del Amor y Otros Demonios) ∞

I’m not quite sure what to call this record. If I just listened to “la luna enamorada,” a cover of a classic Cuban bolero, I would call it gorgeous. If I just listened to “fue mejor” featuring PARTYNEXTDOOR or “quiero sentirme bien,” I would call it sexy. If I just listened to “vaya con dios,” I would think she wrote the theme music for the next James Bond film. The bottom line of the record is Uchis’ absolute stunning use of her upper register. She hits notes that “Isolation” never would have foreshadowed, painting a dreamland for any listener. She slides back into the energy of her sophomore album in “telepatia,” but adds in moments of her new sound. She incorporates a slower reggaeton beat into no eres tu (soy yo), and dives into a heavier reggaeton sound in te pongo mal (prendelo.) My personal favorite of the record is “aqui yo mando!” with Rico Nasty: it is the perfect display of Uchis’ unique upper register combined with Rico’s trap style. Anyone passing this record up for another “Isolation” listen is missing out.

FLETCHER, The S(ex) Tapes

This record has a story like no other, coming from a woman like no other. This EP was recorded while Fletcher quarantined with her ex-girlfriend, who also happened to film all of the music videos for it. It is this messiness that makes The S(ex) Tapes absolute magic. Fletcher’s own description of the name of the release explains the situation best: “A sex tape is someone being captured in their most vulnerable, wildest, rawest form, and my ex has always captured me that way.” She captures all of the feelings of a breakup with someone you still love deeply, and the relationship relapse that comes with moving past those feelings. Fletcher’s special ability comes in representing these deeply painful experiences in an uplifting manner: this is a sexy pop EP meant to be danced to. Fletcher simultaneously validates all of the emotional tumult, but subtly nudges the listener toward blissful reckless abandon. It almost makes me wish I had a breakup to go through! The abrasive apathy of “Shh… Don’t Say It” and the flippant, angry vulnerability of “Bitter” are paired perfectly with Fletcher’s raw brand of distortion. In an interview with Nylon, Fletcher speaks to this: “Listen, I've done my fair share of just straight-up sad, crying in your bed music. I'm still going through shit, but I want to bop to it. We can still be emo and want to twerk at the same time.” Yes, Fletcher, we do.

Halsey, Manic

Prior to 2020, I wasn’t Halsey’s biggest fan. I wouldn’t have even called myself a fan. I just wasn’t that excited by her music. “I’m Not Mad” was the song that triggered a 180 for me. The heavy, dissonant kick of the drums and her raw, angry lyricism drew me in without hesitation. I suppose this was just the push I needed to fall in love with the rest of her music: the songs with similar bite, “Without Me” and “killing boys,” and the more raw side of the record in “You should be sad,” “929,” and “Graveyard.” Her vulnerability is so much of what makes this record perfect. The album fully made sense to me when I listened to her podcast feature on “Armchair Expert” with Dax Shepard. In it, she talks through the time period covered by the record and gives context to her powerful lyricism. “Manic” is a story of chasing someone she loved into drug-fueled oblivion, and then finally finding the power to leave. The album is brimming with this power, and I just can’t turn it off.

HAIM, Women In Music Pt. III

HAIM is THE soft rock band of the modern era.Women In Music Pt. III, their most mature album yet, solidified this opinion for me in a way that I didn’t expect. There is so much to be said for this record: it is innovative and skilled, with the perfect balance of softness and hardness. Though the record is one of pain and trauma, you wouldn’t know it purely from its melodies. “Don’t Wanna” is a very classic HAIM pop rock number, and “The Steps” follows suit making frustration fun to dance to. Though one may not notice at first, in this record HAIM dives deeper than ever before. “Now I’m In It” does a phenomenal job of sonically representing the feeling of being completely and utterly overwhelmed. “I Know Alone” is a beautifully intimate rainy-day account of Danielle’s struggle with depression. Then comes “3AM” - a lighthearted song about a booty call with Thundercat-type bass and an R&B vibe - just in case you didn’t already know how much range these three sisters have. Everything about this record is filled with talent.

Phoebe Bridgers, Punisher

Only Phoebe Bridgers could write a song about murdering a skinhead and fill it with nostalgia. “Garden Song,” the leading single preceding “Punisher,” foreshadowed a record that is just so very Phoebe: melancholy, vulnerable, and heart-wrenching. The eagerly awaited album certainly followed suit, with typical sad ballads “Halloween” and “Moon Song” played alongside more raucous, Better Oblivion Community Center-esque songs such as “Kyoto” and “ICU.” She goes bluegrass on “Graceland Too” with banjo, violin, and layered harmonies from boygenius collaborators Lucy Dacus and Julien Baker. In “Punisher,” Bridgers shares with us the wistful catharsis that she is so very talented at creating.

Noah Cyrus, THE END OF EVERYTHING

I always underestimated Miley’s little sister, but here I am writing about her EP before I write about Miley’s in my end of the year roundup. Every piece in this record gave me chills: Cyrus’ lower register allows her to access a somber kind of ballad that I just can’t get enough of. The record starts off at a peak with the slow burn of “Ghost” and somehow manages to get even better with “I Got So High That I Saw Jesus.” This powerful song, even better in the live version where Miley joins her younger sister, builds into an almost gospel-like ode to the idea that everything will be okay. “July,” the single featuring Leon Bridges that pushed Cyrus into the national spotlight, stands as the most beautifully layered song of the EP. The soft guitar picking and choral sound complement Cyrus’ upper register. The whole record, extending through the closing title track, is a comforting, soft emotional analgesic for 2020.

The Chicks, Gaslighter

This record is gorgeous. It is painful. The feelings Natalie Maines expresses in this record are feelings I have felt far too deeply in personal relationships, and they also are feelings everyone is feeling globally in 2020. “Gaslighter” is just straight up fun, a perfect extension of the Chicks’ energy found in “Goodbye Earl” and other older revenge numbers (but with an extra poppy Jack Antonoff twist this time.) “Tights On My Boat” is bitter, funny, and shows off Maines’ upper register with stripped guitar. “Sleep at Night” musically and lyrically embodies the pain of being betrayed. “Julianna Calm Down” is a stunning ballad of female resilience. “Texas Man” perfectly captures the bubbly feeling of moving on. “For Her” and “March March” fit in with the frustrated, betrayed, power-centered theme of the record in a very different way. The Chicks’ dualistic ability to discuss her ex-husband’s cheating alongside the band’s political views is what makes the record special: not only are we watching a woman try to move on and develop her personal strength, but we are also seeing this personal strength harnessed for political impact. They simultaneously denounce the abuse of power in both politics and relationships, while reclaiming that power for themselves in standing up for what they believe in. How very Chicks of them.

Dua Lipa, Future Nostalgia

Dua motherfucking Lipa. This woman would have been the official owner of 2020 had we been able to dance to this record at bars and clubs. This was proven ten times over by the success of the album’s first single, “Don’t Start Now,” a song that is absolutely the MOST fun. Or so I thought… until I heard “Physical,” “Levitating,” and “Break My Heart.” What poor timing for such a phenomenal dance record, but at least she gave the people some great material for Tik Tok dances! All COVID-dance-related concerns aside, this is a really well done sophomore album for Dua Lipa. The funk elements of the album most clearly seen in “Levitating” elevate Dua’s brand of pop to a new level. The all gas no brakes nature of this dance-pop record works wonders for her - she knows what the people want from her, and she delivers.

Megan Thee Stallion, Good News

THIS! RECORD! If WAP could be an album of the year, it would be, but it’s a standalone single and Megan Thee Stallion proceeded to release the next best thing. The explosion of Megan Thee Stallion has been a pleasure to watch in 2020, with both WAP and Savage leaving the charge. With an artist like her, it’s easy to get lost in the smash hits and ignore the prolific nature of her work. “Good News” is an immaculate rap album, brimming with sass and defiant bad bitch energy. “Shots Fired” kicks off the album with a Biggie sample and a diss to the man who shot her in the foot earlier in the year, personally my favorite track of the record. Other highlights of the record include “Don’t Stop” with a Young Thug feature, “Body” which is now a Tik Tok staple, and “What’s New.” Perhaps the most impressive work Megan does on “Good News” is “Girls in the Hood,” a rework of Eazy-E’s Boyz-N-The-Hood. She inverts the classic misogyny of the original song by emphasizing her control over men like Eazy-E in an indignant assertion of female power. This embodies Megan Thee Stallion’s essence: busting in on a male industry and making her presence known.

Rico Nasty, Nightmare Vacation

Nobody does it like Rico Nasty, and I’m convinced nobody ever will. I saw a New York Times headline titled “Can the Mainstream Catch Up to Rico Nasty?” the other day and I think the answer is a firm no. Rico is abrasive, rude, and outside the box in the absolute best way. Need an album to slap in the car when you’re feeling like a bad bitch? This. is. it. The record kicks off with “Candy,” a song with a wild beat and the iconic chorus line “Call me crazy, but you can never call me broke.” Following is a Don Toliver and Gucci Mane feature in “Don’t Like Me,” a song that truly should have hit the mainstream by now. She gets back to her signature scream-rap in “STFU” and “OHFR.” “OHFR” is the confident standout of the album, along with the reworked re-release of “Smack a Bitch,” making it clear that Rico Nasty is not a woman to be fucked with. In “Back and Forth” with Amine, Rico steps into Amine’s “Limbo” style and does it well. The record’s second single “Own It” is a more classic club banger that unfortunately didn’t get to see the dark of night in any clubs this year. Even if the mainstream never catches up to Rico Nasty, I’ll be following along with her self-labelled “sugar trap.”

Ariana Grande, Positions

I mean, duh. Ariana just doesn’t miss. She surprised everyone with this album’s release in Fall 2020, displaying the bliss of her relationship with later-confirmed fiance. She goes dirtier than usual in the sex-centered “34+35” and “nasty,” rounding the record out with the Craig David-reminiscent “positions.” Ariana allows herself to lust for someone and even love for them in these three, but defaults to her brimming self-confidence in “just like magic” and “west side.” The album is more R&B than pop at times, with the peak of this style visible in the groove of “my hair” and the Mariah Carey ballad-like nature of “pov.” Each album, Grande shifts just a little bit, keeping us attached: “Sweetener”’s cotton-candy pop, the savage pop-trap of “thank u, next,” and the R&B conclusion of the spectrum with Positions.

Miley Cyrus, Plastic Hearts

This year I anticipated no record more than I did “Plastic Hearts.” Its leading single, “Midnight Sky,” described by Pitchfork as a “cocaine-dusted disco track,” channels Stevie Nicks’ eighties rock-pop era in the absolute best way. Apparently this opinion was even picked up by Stevie herself, as the two collaborated on a mash-up of “Midnight Sky” and Stevie’s “Edge of Seventeen” (the excitement from which nearly led to my passing away, by the way.) Cyrus’ voice is in the perfect place on this record, with “Plastic Hearts” emphasizing her rasp and making me want to spin around a room. She dips into the pop realm in “Prisoner” with Dua Lipa, a song that Lipa clearly influences with an unforgettably sexy music video. Every song is different on this record: “Gimme What I Want” channels the grinding rock sound of Nine Inch Nails, “Bad Karma” allows Joan Jett’s punchy style to run the show, and she slips on the shoes of Billy Idol in their collaboration, Night Crawling. Somehow, Miley manages to wear the shoes well, and 80s copycat record or not, I can’t stop listening. “Never Be Me” is where she shines most deeply, baring her soul, the complicated nature of her past few years’ journey, and her knowledge of who she is and always will be for the world to hear. I’m not sure if I’m blinded to the album’s flaws by my absolute and complete love for everything about Miley’s current persona, but I am a huge fan.

Glass Animals, Dreamland

The sound of this album is such a blissful respite! Glass Animals gives us the fun and funky techno-pop that they always do, but dive into personal lyricism in a way that they never have before. Many of the songs actually have a storyline (an intentionally rare feat for Dave Bayley, first broken with the incredible “Agnes” on their last album.) This record explores trauma and pain in “Domestic Bliss” and “It’s All So Incredibly Loud,” Bayley using the soft sides of his voice to express pained desperation. The boisterous energy of the past two records is not forgotten in Dreamland’s intimacy, however: “Hot Sugar,” “Tokyo Drifting,” and “Space Ghost Coast To Coast” do the trick. “Space Ghost Coast To Coast” is the most intriguing song on the record: at first listen, I had absolutely no idea what Dave was discussing and assumed it was just his typical neuroscience-inspired ear-candy. Upon a deeper dive, the song addresses the factors that encouraged Dave’s childhood friend to bring a gun to school. He disguises a discussion of the risk factors involved in school shootings within his flowery, figurative linguistic excellence. This duality of blissful melody and solemn subject matter is the magic of Glass Animals.

Empress Of, I’m Your Empress Of

This album is an emotional electro-pop masterpiece. This record meditates on the feelings felt in the wake of a relationship’s end. She begins the album with a quote from her mother about the reality and value of struggle, then launching into a synth-filled storm of missing someone. “Love Is A Drug” is the album’s next fun dance track, addressing the addictive quality of touch after you lose someone you love and embodying the urgency of the feeling. She takes a more somber tone with the influence of Jim-E Stack in “U Give It Up,” incorporating quotes from her mother about the difficulty of womanhood and reminiscing on love lost. In “Should’ve,” the post-relationship regret is palpable in her vocal tone and production, and in “Maybe This Time” she contemplates this pain. In “Give Me Another Chance,” her emotions swing the other way, with a bouncing dance beat and pleading vocals. The album concludes with the heartfelt and pain-filled “Hold Me Like Water” and the dissonant “Awful,” leaving the listener to meditate on the mood swings of a broken relationship.

Tame Impala, The Slow Rush

This album came out so early in 2020 that it already feels like a vintage piece of music. Perhaps that was the point. Although “The Slow Rush” had a hard time living up to Kevin Parker’s last epic masterpiece “Currents,” it was the fix many fans like myself needed after five years without an LP. “Borderline,” the single that allowed anticipation of the album to build, stands out as one of the most essentially Parker tracks of the record. He introduces a little Toro y Moi style funk in “Is It True,” and highlights his voice more than usual in “Lost In Yesterday.” “Posthumous Forgiveness” builds in the wonderfully dissonant fashion that fans learned to love through “Eventually.” The bass track on “Glimmer” is so good that I never even noticed it had nearly no lyrics. This record is not groundbreaking by any standards in the way that “Currents” was, but it is intentionally jubilant and energetic in a way that still feels good. Even if he doesn’t shatter any expectations in “The Slow Rush,” Tame Impala’s tracklist still makes the perfect sunset companion.

Joji, Nectar

Joji’s “Nectar” is just that: sweet R&B nectar, from the minute the first track plays. Joji’s work here is not in the individual tracks, but in the sonic experience he creates with the album as a whole. This is not an album to pick out singles from: it is a full cinematic mood adjustment. Maybe it’s the weed I smoked when I first listened, but the record feels like a wonderful progression of gentle yet rhythmic R&B songs. The transition from the soft and contemplative “MODUS” to the more upbeat trap-infused “Tick Tock” to the full R&B ballad “Daylight” featuring Diplo raises the listener’s energy gradually to a crescendo. “Run” is a gorgeous and sad confessional of disappointment, and “Sanctuary” follows as a soft and uplifting analgesic to that pain. “Pretty Boy” and “777” mark the more upbeat section of the record, filled with Joji’s accounts of living far too fast. The tracks of this record all bleed into each other seamlessly, mixing pain and confidence in an emotional rollercoaster.

Amine, Limbo

My journey to being an Amine fan started with “Caroline,” ended with “Heebiejeebies,” and started back up again when he found depth in “ONEPOINTFIVE.” His 2020 release is exactly why I came around to his music yet again. The record is soulful and fun, with the flute and cocky lyrics in “Woodlawn” and the funky beat and Young Thug feature of “Compensating.” The two songs I absolutely can’t stop listening to however, are “Can’t Decide” and “Becky.” “Can’t Decide” highlights Amine’s singing voice and dips away from rap and trap into the more traditional R&B realm. “Becky” is an intimate account of the difficulties involved with interracial dating, both in public and in the family realm. The two sides of the album, one emphasizing rhythm and immaculate production, and the other lyricism and emotion, are found in these two songs. The punchy “Pressure In My Palms” (featuring slowthai and Vince Staples) and “Riri” round out the record’s light side. In “Limbo,” Amine finds the perfect balance.

Fleet Foxes, Shore

This album is a wave of calm. Robin Pecknold’s soothing voice is exactly what we needed more of this year. Pitchfork described his mission as “turning anxiety into euphoria,” and that is how this record feels. Each song is dynamic and filled with what makes Fleet Foxes so special. There is a choral quality to the vocals of “Shore,” as always, adding to the calm aura of the record. “A Long Way Past The Past” takes the listener on a what feels like a long walk filled with serious conversation. “Going-to-the-Sun Road,” a song that takes its name from the famous cliffside road through Glacier National Park, oozes sunshine in its Tame Impala-Bon Iver crossover sound. “Cradling Mother, Cradling Woman,” truly feels like being cradled in sound. Fleet Foxes has a knack for beginning songs by hitting the listener with a wall of sound, and that is so perfectly represented in this track. This is a seriously beautiful album.

Cam, The Otherside

Cam’s voice is irresistible. She showed her talent for sharing painful ballads in her breakthrough single “Burning House,” and in “The Otherside” she digs deeper. She writes this record in a period of change, and captures this change and dissonance in the nostalgia of “Redwood Tree.” She teamed up with Avicii for the title track before he passed away, and it shows. His signature building melodies and guitar breaks are clear, and they go perfectly with the range of Cam’s voice. She truly shows her range in this track and this record in general, from the highs in “The Otherside” and the lows of “Changes.” “Changes” is another standout of the album, co-written by Harry Styles. This record is a gorgeous account of outgrowing love and outgrowing people after the deep bliss that you felt with them in the past. “Till There’s Nothing Left” and “Classic” are the big love songs of the record, one that melts you and one that makes you want to dance in a field of flowers. The sisterly confessional “Diane” pulls Cam back to her country roots. She ends the record with what made her famous: a beautiful, sad ballad backed only by piano. Her unique vocals are on full display as the record concludes, and I couldn’t have asked for anything more.

Omar Apollo, Apolonio

Omar Apollo had his breakthrough in this record. His work spans languages and genres in a big way in “Apolonio.” “Kamikaze” and “Staybacik” stick to his typical R&B style, better produced than it ever has been. “Dos Uno Nueve (219)” goes a completely different direction, a Mexican corrido track featuring Yellow Room Music, honoring the Latinx musical styles that he expressed admiration for. Apollo also explores his sexuality in this album, fluidly discussing his bisexuality in “Kamikaze” and “I’m Amazing” in an exploratory manner. The whole album is generally quite exploratory, a quality that makes me even more excited for the work that is to come from Apollo.

Also worth mentioning:

Diplo, Diplo Presents Thomas Wesley: Snake Oil

Thundercat, It Is What It Is

Sylvan Esso, Free Love

Lauv, ~how i’m feeling~

Niall Horan, Heartbreak Weather

J Balvin, Colores

Kelsea Ballerini, kelsea

Dominic Fike, What Could Possibly Go Wrong

#music #2020

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chiseler · 4 years ago

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BUTTER KNIFE SLIDE

In the early ’90s, I was the Editor-at-Large at The Welcomat, a Philadelphia-based alternative weekly. I was living in Brooklyn at the time, but every Thursday I would hop on a NJ Transit commuter train for the three and a half hour trip to Philly. After arriving at 30th Street station, I’d walk across the river into Center City to the paper’s offices, which were housed in a building on the corner of 17th and Sansom. I’d make a right in the building’s small lobby, take the elevator to the Third floor, and walk to the back, where the editorial department was located. Even before saying hi to the other editors, I’d drop my bag on my desk, step over to the office boombox, sort through the small batch of cassettes stacked next to it, throw in Delta bluesman Cedell Davis’ debut album, Feel Like Doin’ Something Wrong, and punch the play button. Without fail, once those first notes hit the air, an audible and pained collective groan arose from every throat in the room.

While my own aesthetic sensibilities were just as offended as my co-workers’, over time I came to have a real and solid affection for Davis, the same way you come to cherish a middle child with a droopy eye or a pet rabbit with the mange.

To the uninitiated, the first moments of the opening track on Davis’ album, “I Don’t Know Why,” might have been produced when a large bull walrus with a head cold and an untuned autoharp were tossed into an enormous blender together. Those same listeners might even cynically conclude the album’s title was a direct reference to the last thing Davis muttered before stepping into the recording studio. At the very least, Davis’ caterwauling guitar and his own strangled yelping vocals might be seen as proof positive there really is such a thing as an authentic Delta Blues singer who is absolutely godawful. As one friend put it, “If you’re bad enough, you get to be ‘authentic’.’”

That said, over the years Davis idiosyncratic style also earned him some fierce, high-profile defenders. Love and respect him or cringe at the mere mention of his name, no one can deny Davis had a legitimate claim to the blues.

Ellis Cedell Davis recorded Feel Like Doin’ Something Wrong for Fat Possum Records when he was sixty-eight years old, but his career as a workaday delta bluesman began roughly half a century earlier.

Davis was born in Helena, Arkansas, in 1926. At the time Helena was a bustling Delta port town, where his father ran one of the city’s countless juke joints and his devout Evangelical mother, while working as a cook, was better known among locals as a faith healer. Perhaps on account of all the sordid temptations waiting around every corner in Helena—it was a town rife with bootleggers, gamblers and hookers—young Cedell was sent a ways upstream to live with his older brother on the E. M. Hood plantation. There he became friends with Isaiah Ross, and the pair, only seven or eight at the time, began playing blues. Davis’ mother insisted the music was the handiwork of Satan, but it was the music that surrounded them, it was the music they knew, the pair often sneaking into local juke joints to catch live performances. Davis began with the diddly bow, a single wire nailed to a wall and plucked, before moving on to harmonica and guitar. Ross, meanwhile, stuck with the harmonica and would later be signed to Sam Phillips’ Sun Records as Dr. Ross, the Harmonica Boss.

When he was ten, Davis contracted a severe case of polio which left him nearly paralyzed. He returned to Helena, where it was hoped his mother’s healing powers might be able to save him. Well, Davis survived, but the muscles of his legs were so deteriorated he was forced to walk with crutches. Worse for the budding musician, he lost a good deal of control over his left hand, and his right was gnarled and completely useless. Being a right-handed guitar player, this was bad news.

In the early ’80s, Davis told New York Times music critic Robert Palmer—a tireless champion of Davis’ music—that it took him three years to figure out how to play again.

He flipped the guitar around to start teaching himself to play left-handed, but even then, with his right hand unable to work the fret board, he knew he needed something to use as a slide, so swiped a butter knife from his mother’s silverware collection, using the handle to work the frets.

In 2017, shortly before his death, Davis told an interviewer. “Almost everything that you could do with your hands, I could do it with the knife. It’s all in the way you handle it. Drag, slide, push it up and down.”

To unsophisticated ears, the grinding shriek resulting from the butter knife slide working the strings might be reminiscent of a cat in heat caught in a ceiling fan, but Mr. Palmer, being a rock critic, recognized its virtues, describing it as only a rock critic could: "a welter of metal-stress harmonic transients and a singular tonal plasticity.” Palmer also argued that Davis’ wholly unique sound wasn’t merely the untuned inchoate noise so many claimed, noting the subtleties of the guitar work remained consistent performance to performance.

In the early 1940s, while in his teens, Davis started playing on street corners around Helena, sometimes working as a duo with Ross. Soon enough he found himself booked in the local juke joints, playing house parties, and appearing on local radio blues shows. He became friends with a number of the era’s most notable Delta Blues luminaries, including Sonny Boy Williamson, Big Joe Williams, Robert Nighthawk and Charlie Jordan. In 1953 Davis teamed up with Nighthawk, a famed slide guitarist in his own right, and the pair began playing all over the Mississippi Delta region, eventually relocating to St. Louis. Davis, it was said, had a Buddha like presence on stage, a radiant calm that seemed to defuse even the most unruly of crowds. It apparently didn’t always come through.

In 1957, while the pair was playing a gig at a bar in East St. Louis, someone in the audience pulled a gun. This sparked a panic in the crowd that only escalated when cops raided the place. Davis was caught in the resulting stampede, and trampled under lord knows how many feet. The bones in his legs weren’t merely broken, they were shattered, confining him to a wheelchair for the rest of his life.

Just as he was determined, for better or worse, not to let polio and a ruined right hand stop him from playing music, he didn’t let the wheelchair slow him down either. Shortly after he got out of the hospital, he and Nighthawk returned to Helena, where the duo continued performing together. When Nighthawk snared them a regular house gig at a nightclub in Pine Bluff, Arkansas in 1961, Davis picked up and moved there.

(As an interesting side note, Pine Bluff was home to an enormous U.S. Army chemical and bioweapons storage facility. It’s unclear if these two things are connected, but if you take Davis at his word, the town also boasted the fattest women in the world, an observation that inspired his song, “If You Like Fat Women,”)

Davis and Nighthawk went their separate ways in 1963, after ten years of playing together. Davis would remain in Pine Bluff for the next few decades, still playing the juke joints around the Delta.

(As another side note, throughout his career Davis remained adamantly vague when it came to questions about his marital status. He might have been married twice, or maybe not at all. It’s unclear. He knows he had a few kids, maybe even some grandkids, but he was no longer in touch with any of them.)

In the mid-’70s, like so many other folklorists inspired by Harry Smith and Alan Lomax, Louis Guida began trolling the Deep South with a tape recorder, hoping to make field recordings of some as-yet-undiscovered authentic blues legend along the way. In 1976 he stumbled across Davis playing in a bar, and those first recordings appeared on Guida’s compilation album, Keep It to Yourself: Arkansas Blues Volume 1, Solo Performances, which came out in the early ’80s.

And here we go. Robert Palmer heard that album and headed to Arkansas to catch Davis’ act, writing the first of many stories about him for the Times and other publications. Over the course of the decade, Palmer’s endless championing of Davis earned the man with the butter knife slide gigs not only all over the country (including a multi-night stand in NYC), but around the world as well. Suddenly Davis, who prior to that had ventured no further than St. Louis, was starting to get some recognition within the international blues community. Not all of it was as laudatory as Palmer, but still. In 1993, it was Palmer, not surprisingly, who brought Davis to the attention of Fat Possum Records.

The indie label had been launched by three white college buddies from The University of Mississippi in 1991, their goal being to promote (which sounds so much better than “exploit”) previously unknown bona fide aging black Delta blues musicians. Along with R.L. Burnside and T Model Ford, Davis became one of the earliest acts signed to the label. In 1994, with Palmer himself producing and assorted label mates like Burnside acting as sidemen, Davis went into the studio to record Feel like Doin’ Something Wrong, which featured a smattering of classic vlues covers mixed in with Davis originals, including “Murder My Baby” and the above mentioned “If You like Fat Women.”

Going back to the album now for the first time in roughly twenty-five years, it doesn’t seem nearly as comically awful as it did back in The Welcomat’s editorial office. In fact it’s pretty good, if you’re a fan of unpolished, dirty, gritty roadhouse blues. If you aren’t conscious that he’s playing with a butter knife, Davis’ guitar work merely sounds a little squeaky and rough, but not all that different from what you might hear from others of the time.

If there is a downside, it’s that the album’s a little one note and generic. Apart from the covers, Davis relies on the same simple blues progression for nearly every song, which, yes, can be a little tiring if you’re listening carefully. But if all you wanted was some generic roadhouse blues to put on as you go about doing other things, it fits the bill.

In a strange move considering he’d only put out a single album at that point, the following year saw the release of The Best of Cedell Davis, this time spearheaded not buy Palmer, but by popular jazz fusion bandleader Col. Bruce Hampton, one of Davis’ newfound fans. None of the album’s ten tracks appeared on Feel Like Doin’ Something Wrong, so I can’t say for sure if these are new recordings or songs taken from his appearances on earlier Delta blues compilations, but a couple, like “My Dog Won’t Stay Home” and “Keep Your mouth Closed, Baby,” are kind of fun.

Shortly after the Best of came out, Palmer died, and Davis lost his most influential benefactor. But Palmer had gotten Davis on the map, and it was up to Davis to carry on as he always had.

In 1998 he released Horror of It All, an album whose title once again played right into the hands of the Davis naysayers. In fact, It’s an album, despite promising song titles like Chicken Hawk,” “Keep on Snatchin’” and the mind boggling “Tojo told Hitler,” that seems determined to prove the naysayers were right all along. With the exception of a new iteration of “If You Like Fat Women,” there are no drums, no side guitars, nothing but Cedell and the naked glory of his butterknife slide. It’s Cedell laid bare, and it can be painful, especially as Davis keeps playing those same simple blues progressions over and over. Yes, he has an absolutely unique sound, a bit like Joseph Spence, but ouch. It really is godawful, but like the equally godawful Godzilla vs. Megalon, may be the album that cemented his reputation among blues critics and fans who weren’t Robert Palmer.

(Oddly, Horror of it All is the album I keep returning to, as it best captures my initial impressions of the Davis sound.)

After Horror of It All came out Davis decided to take a break from recording to write more songs and return to playing the juke joints where he was most comfortable.

It’s a funny thing. If you don’t know the back story, Davis’ music, while perhaps not as awful as I once maintained (and countless blues critics still insist), doesn’t get much beyond the merely adequate. When you do learn his story, though, well, that elevates things, right? Knowing he’s confined to a wheelchair and using a butter knife in his crippled right hand, it’s really something he plays as well as he does. It also sure makes for a swell and effective marketing gimmick. He may not have been the worst bluesman who ever lived, but without that gimmick he was nothing. If he’d merely been blind it would’ve been no big deal—blindness just comes with the territory—but Davis was all messed up, and never let it stop him. Again, for better or worse.

As has happened so many times before, if you have a performer whose abilities make at least a stab toward the adequate, then add a mental or physical disability on top of it, all you need do is step back for a few moments and wait for the hipster celebrities to start lining up, hoping to get their claws in him. Consider the cases of Larry “Wild Man” Fischer or Daniel Johnston.

Sure enough, when word of Davis’ condition began circulating along with those first couple Fat Possum discs (the label having become quite popular among white hipsters), the white hipster celebrity musicians began clamoring to get on board.

Davis’ returned to the studio in 2002 to record When Lightnin’ Struck the Pine. The accompanying press release claimed he had personally signed R.E.M. guitarist Peter Buck and Screaming Trees drummer Barrett Martin to be in his backing band. Why do I find it hard to believe a 76-year-old black bluesman from Arkansas had ever heard, let alone heard of, R.E.M. or the Screaming Trees, or that he would personally sign a couple white hipsters to be in his band?

Well, whatever. Maybe it’s just me. Maybe it really did happen that way, and there wasn’t some heavy conspiring between Buck, Martin, and the white boys who ran the label to get them in on those sessions.

Well, however it came about, the resulting album was, much to my amazement, um, pretty good. The sound is as grungy as ever, but much fuller than it had been on his earlier albums, with the addition of organ, piano and sax together with Buck and Martin. And as it should be, Davis vocals and butter knife slide are front and center. The energy level’s been ramped up considerably, and best of all, Davis, both in the songs and a few candid recordings from the studio, seems to be having a fine time of it.

Three years later in 2005, Davis had a stroke and was forced to move into a nursing home in Hot Springs, Arkansas. This time it was definite and final—he could no longer play guitar. But if polio hadn’t stopped him, and crushed legs hadn’t stopped him, it’s little surprise a stroke and no longer being able to play the guitar wasn’t going to stop him either. He could still sing, and so kept writing songs and recording. And the hipsters kept piling on.

His 2015 album, appropriately if ironically entitled Last Man Standing, featured an 88-year-old Davis working through a greatest hits set in front of a backing band that again included Barrett Martin, as well as Jimbo Mathus and Stu Cole from the Squirrel Nut Zippers and noted blues guitarist brothers Greg and Zack Binns.

The resulting album, as you might expect, was a far cry from his debut. The production was clean and sterile, with the all-star band’s three guitars pushed to the front of the mix and Davis’ butter knife clearly absent for obvious reasons. At least none of the involved made the mistake of trying to recreate his trademark sound. It sounded like a bunch of white hipster musicians playing standard blues riffs behind an eighty-eight-year-old mumbling bluesman.

If you hadn’t smelled it already, to drive the Bad Faith of the whole project home, the album also contains three or four tracks of Davis just talking to the band in the studio, clearly trying to tell stories about his life and career to these youngsters who not only don’t know who the hell he’s talking about, but can’t understand what he’s saying. While similar tracks had been included on Lightnin’, this, unlike those, had been recorded after Davis stroke. The clear intention was to say to listeners, “Hey, get a load of this crazy old mumbling Southern black bliuesman! Is that authentic or what?”

Somehow, the following year he released yet another album, Even the Devil Gets the Blues, this time with someone from Pearl Jam in his backing band. Then in September of 2017, Davis had a heart attack, and died from complications a week or two later at age 91. Not surprisingly, at the time of his death, he was still scheduled to play a gig at the end of the month.

I’m not sure who the final Great Cosmic Joke is on, those hipster musicians who thought playing with a bona fide authentic Delta bluesman would bolster their street cred in some way, or poor Cedell—whom I adore and admire more with each passing day—who might have been conned into believing all that support from white institutions from the NY Times to R.E.M. would push him over the top. Whatever it may be, a mere three years after his death, and after seventy-five years of making a go of the blues against all imaginable odds, Cedell Davis remains virtually unknown and forgotten, even among serious blues aficionados. In fact it seems, and this may be the saddest thing of all, he’s only remembered nowadays by people like me.

by Jim Knipfel

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phroyd · 5 years ago

Link

Breaking news: A Georgia father and son were arrested and charged with murder Thursday evening in the fatal shooting of Ahmaud Arbery amid intensifying pressure from across the political spectrum.

Footage of a young black man who was fatally shot by a white man in Georgia ignited outrage across the political spectrum, with former vice president Joe Biden comparing it to a lynching and Georgia Gov. Brian Kemp (R) calling the shooting “absolutely horrific.”

President Trump, speaking at an event in the Oval Office on Thursday, said he expects to get a “full report” on the incident and called the death “a very sad thing.”

Biden, the presumptive Democratic presidential nominee, spoke passionately about the incident during a virtual campaign roundtable focused on African American issues Thursday, telling participants that watching 25-year-old Ahmaud Arbery “shot down in cold blood” was like seeing him “lynched before our very eyes.”

Arbery was killed in February while jogging in a residential neighborhood in Brunswick, Ga. Video of his brief interaction with at least two men who confronted him, seconds before the gunshots, was released on social media this week. No one has been charged.

Gregory McMichael, 64, a retired police detective, saw Arbery jogging and believed he looked like a suspect in break-ins in the neighborhood, according to a police report. A local news report found only one burglary was reported to police between Jan. 1 and Feb. 23.

McMichael called his son, Travis McMichael, 34, and they armed themselves with a handgun and shotgun, respectively. They chased Arbery in a truck, according to the report, and Gregory McMichael told police that he shouted to Arbery, “Stop, stop, we want to talk to you,” before, according to their statements, they pulled up beside him in their truck.

Reached by phone Thursday afternoon, Greg McMichael said, “There are many, many facts out there that have not come to light.”

“This is all based on the video and newspaper story, all the stuff that led up to that still hasn’t been released,” he said.

Greg McMichael refused to comment further because the case is under investigation. He referred to his attorney, Alan Tucker, who did not return an email requesting comment on the case.

The case has been assigned to a carousel of prosecutors, beginning with Jackie Johnson in the Brunswick Judicial Circuit, who recused herself from the case in February because Greg McMichael was previously an investigator in her office. The case then went to George E. Barnhill, district attorney for Georgia’s Waycross Judicial Circuit, who also recused himself, after Arbery’s mother complained that Barnhill’s son worked used to work with McMichael in the Brunswick District Attorney’s Office, according to documents obtained by The Washington Post.

On Tuesday, Tom Durden — the latest district attorney to take on the case — said in a statement that the case should be presented to a grand jury for consideration of criminal charges.

Arbery’s attorney, Lee Merritt, noted in a statement that grand juries in Georgia are temporarily suspended because of the coronavirus pandemic and urged that the three suspects named in the case be taken into custody immediately, pending their indictment. A statewide moratorium on judicial proceedings was extended this week until June 12, meaning it could be another month before the case is heard.

Meanwhile, protests have erupted in the town. The NAACP held one Wednesday and is planning a 10 a.m. demonstration at the courthouse in Brunswick on Friday.

Also Friday, Jason Vaughn, Abery’s former football coach, is organizing a social media-based memorial where participants will post videos about their 2.23-mile runs in honor of the slain jogger. He died February 23.

The killing has resurrected ever-raw wounds of white on black violence, which has become more visible in recent years thanks to the prevalence of cell phone cameras.

Biden called the fatal shooting the latest example of the “rising pandemic of hate” in America. Biden has said it was the protests involving white supremacists in Charlottesville, in 2017 — and Trump’s lack of a full-throated condemnation of them — that spurred him to run for president.

During the Obama administration, shootings of unarmed black teenagers Trayvon Martin and Michael Brown drew massive protests, sparking the rise of the Black Lives Matter movement and bringing wider attention to issues of race and justice.

Trump, who argued there were “very fine people on both sides” of the Charlottesville protests in 2017, said in the Oval Office Thursday, “My heart goes out to the parents and the loved one of the young gentleman."

Kemp, the governor, sought to assure Georgia residents that the state is taking the case seriously.

“Earlier this week, I watched a video depicting Mr. Arbery’s last moments alive,” he said in a statement Thursday. “It is absolutely horrific, and Georgians deserve answers.”

Georgia Democrat Lucy McBath, whose run for Congress was inspired by the death of her son, Jordan Davis — an unarmed black teenager gunned down at a gas station over his loud music — called Arbery’s killing a “murder."

“Outrageous and unconscionable. This is murder. Full stop. We cannot continue allowing this to happen in America. I hurt for this young man’s family. We must demand justice,” she tweeted.

Other members of the state’s congressional delegation also responded to the video.

“What I saw on the video is disturbing and wrong and looks like a criminal act. It must be thoroughly investigated, and I can’t imagine why it has taken this long to come to light,” said Rep. Douglas A. Collins (R), who is running for Senate.

His opponent, Sen. Kelly Loeffler (R), tweeted: “I am deeply concerned by the death of Ahmaud Arbery, and I join Georgians across the state in calling for swift action and immediate answers. My prayers are with the Arbery family for their devastating loss.”

Sen. Tim Scott (S.C.), the only black Republican U.S. senator, said it’s time for America to face some “hard truths.”

“Every.single.time. The excuses pour in – “he looked suspicious”… “we thought he was committing a crime”…The fact remains, #AhmaudArbery was hunted down from a pickup truck and murdered in cold blood,” Scott said in the first of a series of tweets on the subject. “My heart breaks for his family, and justice must be served.”

Phroyd

#georgia #ahmaud arbery

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