#but nina really likes that EDM and dance tracks | Explore Tumblr posts and blogs

loganeaves733-blog · 6 years ago

Text

(PDF) The Character Of Music Genres

Throughout the United States people are obsessed with all forms of music, however have you ever ever questioned which musical genres are most popular during which areas. Americana; the music in regards to the working class. The hopes and goals of the free American individuals. Driving rock that you could hear in bars and stadiums alike. Jazz, rock or classical are terms regularly used to distinguish between different genres" of music. However they is also described as completely different styles". In that sense, style" would denote the more basic and genre" the more specific characteristics of the music concerned. Be that as it might, it's useful to regard genre" as an outline of the social function of music.

As an instance you are in a shop that's enjoying music and you want to know the identify of the tune or who's singing it. Simply hold down the House button on your iOS machine. Inform Siri Shazam this" and bretedments777471.wikidot.com Siri will give you the track title and artist. Warning: you would possibly lose a whole hour to this… Each Noise at As soon as is a one-web page map of playable audio samples for more than 1500 musical genres, from deep tech house to Finnish metallic to easy jazz to geek people to klezmer to deep opera.

In 2017, more DJs took advantage of the one detail that makes their artwork kind truly unique: they'll play anything. Nina Kraviz, regardless of the absurd controversy it as soon as brought on her, continued colouring exterior the strains, be it with a hundred and fifty BPM techno or straight up drum & bass, on the principle stage at EXIT Competition or in room one at Unsound's Lodge Forum. Avalon Emerson, armed with wildly eclectic music on impeccably organized USB sticks, drifted seamlessly from straight four-4 into hip-hop and R&B. On the final morning of Sustain-Launch, PLO Man appeared intent on encompassing as a lot as possible of all the panorama of digital music in one set, with separate chapters devoted to jungle, garage, deep home, dub techno and ambient. Rock and pop bands use the identical quantity of instrumentation on stage, which is normally two guitars, one set of drums, and one bass guitar. One other similarity is the variety of musicians on stage which includes: vocals, guitar players, bass player, drum participant, and again vocals. The last similarity is the way both type bands perform. Both styles carry out with a robust stage presence, being very energetic on stage. Some examples of bands which might be pop bands and are confused as rock bands are: ‘N Sync, Backstreet Boys, and Justin Bieber. Music in America is at the moment in an interesting place. The internet has made it easier than ever for artists to release their music for the world to hear, but on the same time it might probably feel like a smaller group of artists is capturing the highest of the charts. Still, with regards to touring exhibits and local scenes rock and nation musicians are serving to to carry followers together all throughout the country. While the charts is likely to be dominated by music that's streamed over telephones and computer systems the local concert venues are filled with people searching for that traditional combination of drums, a guitar, and a singer that can make them really feel something. Solo: This can be used anytime, ideally after a round or two of refrain and verse, to add just a little jam feel. Used loads in jazz and can really create cool sections in music. When you find yourself thinking of live performance Solo components are always unbelievable, even if it's not in your released monitor. we fell in love with this music, and it's not one thing you typically grow out of, so long as the music evolves with you. and as long as there is a demand, there will likely be like minded folks supplying.

Eminem!? Eminem is amazing. I like to recommend looking into his music. My favourite genres are Various, Grunge, and Rock. Eminem has meaningful music. I am okay with you not liking him, but categorizing him with the others talked about? No. Just. No. Before John Lennon and http://www.audio-transcoder.com Paul McCartney's songwriting partnership turned the dominant drive of ‘60s fashionable music, there was Jerry Lieber and Mike Stoller, who were a hit-making duo in rock & roll's earliest days. Elvis made their song Hound Dog"—recorded quite a few times by numerous artists as early as 1953—famous in 1956, and when Presley's new film 'Jailhouse Rock' got here out the next year, they had a monitor ready just for him.

Music based upon a rhythm style, which is characterized by regular chops on the backbeat, performed by a rhythm guitarist. Reggae is an African-Caribbean style of music developed on the island of Jamaica and carefully linked to the faith of Rastafarianism (though not universally popular amongst its members). Some school students discover that one of the best music to study by is so-called put up-rock music. It's a numerous genre that includes many bands that focus totally on enjoying instrumental music with none vocals. Nevertheless, some bands do embrace restricted vocals with hard-to-discern lyrics. In consequence, their songs typically present perfect background music for learning since they do not draw quite a lot of consideration to themselves.The effect of various musical styles on serum cortisol levels, blood stress, and heart fee is presently unknown. Yes, we have mentioned this earlier than- however ya'll do not listen so we are going to say it again. What you are calling EDM falls below the umbrella term of electronic dance music - but it surely's not EDM. The rationale why, is that there is no EDM subgenre. Wait, you imply EDM isn't a subgenre of EDM? STUNNING. music a sort of contemporary electronic music that developed in the Nineteen Eighties, changing disco as the most well-liked form of dance music. It combines deep bass sounds with components that are sung or performed on a synthesizer.3. Tone and Intonation. Jazz musicians will be obsessive about their sound and their tone quality, however overall I'd say it's less a precedence than it's within the classical world. Sometimes jazz musicians additionally go for bigger fairly than higher on this regard, for the above-stated causes. this is nowhere close to a whole listing of musical genres… what about witch hop or s3rl… or comfortable hardcore… or future base. was just wanting to level that out… there is approach to much music for anyone but a big group of lots of to listing and research.

1 note · View note

technoqueers · 5 years ago

Text

html test 3

2019-11-27

Happy Holigays from TQ! For the first time since sending out the guide v.1, we're going into hibernation for a bit and taking a break! Feel free to email us if you’d like ideas for where to go out, or just check RA! If you'd like to peruse past editions of the guide, they're posted on our Facebook and Twitter pages. Stay in touch, stay warm, and hope to see y’all on the dancefloor in the new year! 💗

How Charlene Incarnate Inherited the Legacy of NYC’s Drag Scene // “That’s what gay people are good at,” she acknowledges, “being audience members and contributing energy.” “We saw the shuttering of every space [queer folks threw] parties in, every space that wasn’t a typical gay dive bar. They’re all gone now.” The artist grieves both her home [Casa Diva] and the community it provided, and the fact that spaces like hers are “even rarer or nonexistent in the neighborhoods that [queer folks are] still occupying.”

“Taking drag out of nightlife is like taking it out of queerness,” Charlene says, adding that drag “happens in the spaces that were left to us.” How Papi Juice Became the Most Important Party in New York City // In 2013, Oscar Nuñez and fellow DJ Adam Rhodes were tired of going to parties catering to white, cisgender gay men — and were thus inspired to create a party that centered queer and transgender people of color. “We are part of a legacy of people who have been doing similar work for years,” Rhodes explains. “Seeing colleagues emerge and get bigger has been amazing. I love that there are more parties that are specifically serving our people. They’re creating spaces where we can be celebrated in all of our beauty and diversity.” Rare photos of New York’s iconic club kids // We were able to set an example for the everyday kid who was coming from the outer boroughs, and maybe it would give them permission to be a little more liberated within their own lives and within their own context. This was very valuable. The real tragedy when they closed all of the mega clubs in New York was that a number of creative people lost job opportunities. That’s why New York really suffered culturally when the nightclub industry was targeted and wiped out because all of a sudden people couldn’t pay their rent or sustain their art practices. That was a really sad moment for New York culturally. Masked balls and gay uprisings: Queer Maps is a guide to 150 years of LGBTQ history // The tool launches at a time of growing concern about the disappearance of queer bars in cities across the country – LA’s last remaining lesbian bar closed in 2017. It honors world-famous institutions alongside little-known haunts that quietly thrived during eras when being gay was criminalized and dangerous. Saatchi exhibits and BBC Four docs: why is 2019 so nostalgic for 80s rave? // These events were communal and often lawless. They were not happening with anyone’s permission but instead were reactions to the prevailing currents of their time. Deller’s film analyses rave’s role in the traumatised aftermath of the miners’ strike. Rave, he proposed, was “a death ritual marking the transition of Britain from an industrial to a service economy”. Techno Titan Carl Craig Commissioned for Sound Project at Dia:Beacon, Five Years in the Making // Craig—part of a fabled lineage for a legacy of techno music that was born and bred in Detroit—said he drew connections between his hometown and Dia:Beacon’s setting in a former factory that had been abandoned for years before it was transformed in an art-world destination. More to the floor: the decade the dancefloor was decolonised // Perhaps partly helped by the global panopticon of the internet, DJs and producers combine everything from the weighty syncopations of footwork to the sparse, percussive rolls of gqom and euphoria of hard trance, until the key compounds are almost unrecognisable – and then add their own distinctive local flavour. The result is a simultaneously global and local sound, and cross-continental collaborations are making it even more cosmopolitan. First Floor #13 – Where Have All the Anthems Gone? // More and more, what matters is contextualizing an artist within a larger socioeconomic and sociopolitical backdrop. Writers and editors obviously still consider the music, but they’re now also thinking about stuff like identity, representation, privilege and structural discrimination, and while that rubs some people the wrong way—particularly the “it should just be about the music” crowd—I don’t see it as a problem. Leave Your Body at the Door: How ketamine became the drug of choice for our dissociated moment. // In the 1980s and ’90s, the growth of rave culture brought it onto New York dance floors and it became a staple of the club kid scene, prompting the first wave of ketamine trend pieces. “Whether it’s a gay all-nighter, or at a hard techno rave patronized by young, white out-of-towners, the picture is invariably the same. Come 3 a.m., the dance floor is littered with those wasted on ketamine,” Muzik Magazine wrote in that same 1998 article. But in 2019, once-fringe elements of rave culture have bled into the mainstream. EDM is elevator music, banker bros and leather-daddies share bumps at Bushwick warehouse events, Silicon Valley has invaded Burning Man, and the wellness world has turned the drugs of the ’60s counterculture into productivity boosters for start-ups. As rave culture has rebranded, ketamine has pivoted with it. Today’s K users are bringing the drug beyond the dance floor: to chilled-out bar nights and tech-world salons, New-Age wellness retreats and quiet nights at home. NYC Votes To Ban Flavored Vaping Products // New York became the first major city in the country to ban all flavored vaping products on Tuesday. The ban is expected to take effect in July. The crackdown also comes amid an outbreak of vape-related lung disease that's killed dozens of people nationwide, including at least two New York City residents. Researchers with the Center for Disease Control have linked the sickness to vitamin E acetate, which is commonly used in black market THC vaping products.

Wednesday

11-6 // parka presents Trust Exercise: Courage @ Market Hotel // The theme of the night is Courage as a reminder of the courage it takes to trust and be vulnerable. We forget that not everyone celebrates the holidays the same way and many have had to sacrifice a lot to move away from home.

10-3 // Thanksgiving eve with justin strauss and juan maclean @ Black Flamingo 10-4 // Marcellus Pittman All Night @ Nowadays // The Detroit don is back to bless us with another marathon set. 10-4 // pure immanence XL @ Bossa // 10-11: Pure Immanence, 11-12:20: Night Doll, 12:20-1: perrX (live), 1-3: quest?onmarc, 3-4: Pure Immanence 10-4 // OD: Yurk \ Skyshaker \ WILHELMINA \ Christy @ 444 Club

Thursday

10-4 // ADAM X & MÆDON @ Bossa 10-4 // Bermuda /\ Thanksgiving night @ Venus in Furs

Friday

10 // ELSEWORLD: Juan Atkins, Noncompliant, Lauren Flax & More @ Elsewhere // 🌎🛸 HALL 🛸🌎 Juan Atkins, Noncompliant, Relaxer (live), Lauren Flax 🌎🛸 THE LOFT 🛸🌎 Cultivated Sound and Friends: Maŕa & Chamberlain Zhang, 夜露四苦4649 [ Haruka Salt & Yuri Mizokami], LOKA $5 off presales

10-4 // Room To Live presents sold and DJ Wawa @ Newtown Radio // sold (Chicago, smartbar, Groove Cafe), DJ Wawa, Room To Live residents 10-4 // Soul 2 Seoul Do Black Friday @ Mood Ring // Tag Team, Back Again, Back by unpopular demand, The original Blasian Super Duo. Chung & Turtle All Night 10-4 // Technofeminism @ Bossa // BORED LORD (LA), AKUA 10-4 // Blazej Malinowski [Live] + Mary Yuzovskaya @ Public Records // Polish-born DJ Blazej Malinowski brings his knack for deep + atmospheric techno to the Sound Room for a live performance. Having released records on Semantica, TGP, SIlent Season + many more, expect a tripped out, mesmerizing set with Monday Off founder, Unter regular, and vinyl-only DJ Mary Yuzovskaya kicking things off and closing the room. 10-4 // Working Women and Martyn @ Nowadays // Nowadays resident DJs Nina, Nicely and Voices, aka Working Women, are teaming up with 3024 boss (and Ostgut Ton, Brainfeeder, Ninja Tune, Hyperdub, Warp and Aus Music alum) Martyn. 10-5 // Stenny, rrao, Only Child, Significant Other Plus Lagasta, Jacques Renault, Boys' Shorts @ Good Room // Stenny is an essential producer in driving forward the sound of Ilian Tape. A versatile, adventurous and tough approach allow for constant forward momentum and a truly unrelenting energy on the dancefloor.

Saturday

10-5 // NEW YORK TRAX x VOITAX @ BASEMENT // In partnership with the forward-thinking, Berlin-based, record label Voitax, New York Trax brings 4 massive live acts for its Basement debut. Makaton LIVE, Swarm Intelligence LIVE, Brenecki LIVE, Deflector LIVE, Cressida, Paàl

10-4 // XXxBORED LORD x NYCxXx @ Mood Ring // ୧༼ಠ益ಠ༽୨ bored lord, pauli cakes, phoneg1rl, nk badtz maru ୧༼ಠ益ಠ༽୨ 10-4 // FIT Siegel / DJ Fire / DJ Healthy @ Bossa 10-4 // Soul Summit Music All Night Long @ Black Flamingo 10-5 // Perel, L&L&L + Lost Soul Enterprises with L. Sangre, R Gamble @ Good Room // Perel will be joined by L&L&L Record Club. Lost Soul Enterprises takes over the Bad Room with party residents L.Sangre and R Gamble. LSE is a party and label focused on mutant sounds past and present: wave, electro, body music, and all things in between. 10-5 // Shelter 002: Timmy Regisford, Francis Harris + Special Guests @ Public Records // Crossing generations of fans in New York, Timmy Regisford joins Public Records music director and partner Francis Harris for a monthly affair in the Sound Room with one question in mind: How deep is your love for House? 11 // Occupy the Disco @ Elsewhere (Zone One) 10-7 // Dee Diggs, Posi-Track and DJ Bone @ Nowadays // For this soiree, HalfMoonBK's Dee Diggs is teaming up with Fermented Frequency's Posi-Track and the inimitable DJ Bone. Good luck leaving before daybreak.

Sunday

3-9 // The Carry Nation All Day @ Nowadays // Nita Aviance and Will Automagic have been working together as the Carry Nation for the better part of a decade. During that time, they've lit up clubs, lofts and warehouses the world over and released music on Nervous, Classic Music Company and W&O Street Tracks.

Techno Queers NY

1095 Bushwick Ave

Brooklyn, NY 11221

Add us to your address book

View this email in your browser. Want to change how you receive these emails? You can update your preferences or unsubscribe from this list

0 notes

weekendwarriorblog · 5 years ago

Text

WHAT TO WATCH THIS WEEKEND October 11, 2019 - THE KING, GEMINI MAN, PARASITE and More!

Having barely recovered from this past weekend’s double whammy of New York Comic-Con and New York Film Festival, I’m starting to question whether I should continue doing this column… again. It’s a lot of work putting it together each week, and it’s really tough to balance this with my paying writing work.

It certainly doesn’t help matters that I never got around to finishing last week’s column, because I got too busy with other stuff, but this week, I haven’t seen any of the three wide releases for various reasons, so there might not be as much to write about. Since I’ve already reviews Bong Joon-ho’s Parasite for The Beat, I want to talk about another amazing film getting a limited theatrical release.

That movie is David Michôd’s THE KING, which Netflix is giving a limited theatrical release before its streaming debut on the service starting November 1.

Set in the 15th Century, the movie is loosely adapted on Shakespeare’s King Henry IV and Henry V but it’s handled in a lot less stodgy way than other Shakespeare films like Michael Fassbender’s recent turn as Hamlet. Henry IV is played by Michôd regular Ben Mendelson, but Henry V is played by Timothée Chalamet who has zero interest in being king even after his father dies. But the performance that really grabbed my attention was that of Joel Edgerton (who co-wrote the screenplay with Michôd) who I didn’t even recognize as the younger king’s trusty colleague Falstaff until about an hour into the movie. Robert Pattinson (who appeared in Michôd’s The Rover) plays a smaller but absolutely hilarious role that I won’t reveal, although it’s hard to forget it since it’s such a different character for Pattinson. Much of the film deals with how Henry handles becoming King of England, especially when he’s pushed to go to war with France. I don’t have a lot more to say about this movie is that it surpassed all my expectations, especially in the battle sequence in the last half of the movie which is on par with anything in Gladiator or Braveheart, but then there’s an equally terrific epilogue that really shows Chalamet to be at the top of his game. I also should mention the amazing turns by Sean Harris from Mission: Impossible - Fallout, Lily Rose-Depp and Thomasin McKenzie as Henry’s sister.

This is just a great film that I hope people will make an effort to go see in theaters, even though Netflix really isn’t giving it as big a theatrical or awards push as some of their other movies. I know it’s playing at the Landmark 57thStreet in New York, but that’s the only theater I could find.

That aside, the big movie of the weekend is Ang Lee’s GEMINI MAN (Paramount), starring Will Smith and Will Smith. You may already know the general premise that it involves an older hitman played by Smith being hunted by a younger Smith, or maybe it’s vice versa. I don’t know since I had to miss the New York press screening due to illness, but I’ll probably try to see this when it opens this weekend. I might even give it a look in 3D at 128 FS, as maybe the third time’s the charm in that format.

U.A. Releasing is attempting their second animated release of the year with THE ADDAMS FAMILY, which I’ll be seeing on Wednesday night and reviewing over at The Beat. It has a pretty amazing voice cast, and I’ve been a fan of the comic strips and TV show, enough to hope that the filmmakers behind Sausage Party can do it justice and still be funny with a PG rating.

I’m a little bit dubious of CBS Films’ JEXI, starring Adam Devine, since the studio decided not to screen in advance for critics, and that’s VERY rare for a populist comedy like this one, which basically has Devine falling for his Siri-like smartphone assistant, or maybe it’s vice versa. If I can find the time, I might check this out, but I don’t expect it to do very well with so little advance promotion.

You can read more about these wide releases and how they might fare over at my weekly Box Office Preview at The Beat.

LIMITED RELEASES

I’ve already reviewed Bong Joon-ho’s new film PARASITE (NEON) over at The Beat, but it’s an intriguing enough film that I certainly could talk more about it. It’s an interesting look at the Korean class system through the interactions between a family living in poverty and the rich family they dupe into letting into their homes. The movie looks incredible and Bong’s cast is top-notch in creating a dark comedy dealing with rather serious issues, and honestly, you should go to see it without knowing too much about it, so that’s all I’ll say. Interestingly, the movie has already sold out about seven preview screenings on Thursday night and a few more Friday at the IFC Centerwhere Director Bong and a few of his stars will be doing QnAs after the shows.

I had been tracking Michael Goy’s MARY (RLJE Films) for some time, mainly because it has an impressive cast including Gary Oldman and Emily Mortimer, but also it mostly takes place on a haunted boat, and I’m generally a fan of boating. Mary is actually the boat’s name, one that’s spotted by Oldman’s working class captain David who wants to make a better life for his family, something he thinks the boat can help with. Once David and his family are out at seas, they begin to turn on one another and lose their sanity as the boat drifts off-course.

Opening in New York and L.A. on Wednesday is Eric Notarnicola’s Mister America (Magnolia), and if you’re in New York, you can try to get tickets for the Metrograph where Notarnicola will be appearing with stars Tim Heidecker and Gregg Turkington aka “Neil Hamburger” for three shows tonight! It’s a faux political documentary following Heidecker on his campaign to depose the incumbent San Berarndino D.A. who tried him for selling e-cigs at an EDM festival, killing many. If this is even remotely as weird as the last few films I’ve seen with Heidecker and Turkington, it’s probably best that I haven’t seen this, and probably won’t, although the premise sounds intriguing.

There are some interesting docs this weekend including Fantastic Fungi, directed by time-lapse photographer Louie Schwartzberg (Wings of Life and the 3D IMAX film Mysteries of the Unseen Worlds) and “written” by Mark Monroe, who has been involved with some great docs including this year’sThe Biggest Little Farm. As you can tell from the title, this one explores the ground beneath our feet and how the fungi kingdom offers ways to heal and save our planet. It’s opening at New York’s Village East Cinemason Friday and in other theatersdown the road. Oh yeah, it’s also narrated by Brie Larson.

Also opening at the QuadFriday is Robin McKenna’s documentary Gift (Matson Films), based on Lewis Hyde’s “The Gift: Creativity and the Artist in the Modern World,” exploring the relationship between art and the “gift economy.”

Opening at the Cinema Village Friday is Killing Zoe writer Roger Avary’s new movie Lucky Day (Lionsgate), starring Luke Bracey, Nina Dobrev, Crispin Glover and Clifton Collins Jr. It’s about a paranoid safe-cracker and his family who have to face a psychotic hitman out for revenge. I’m guessing that Glover is playing the psycho.

As far as sequels, there’s Along Came the Devil 2 (Gravitas Ventures), the sequel to Jason and Heather DeVan’s Along Came the Devil, which I’m honestly not sure I saw. Laura Slade Wiggins plays Jordan who receives an unsettling voice mail and returns home to her estranged father (Bruce Davison) only to learn that a demonic force has attached itself to the town.

Lastly, there’s Broadway star Michael Damian’s High Strung Free Dance (Atlas Distribution), the sequel to his 2016 movie High Strung, which I’ve never seen. It follows Thomas Doherty’s young choreographer Zander Raines as he gives a break to a talented contemporary dancer (Juliet Doherty) and a pianist (Harry Jarvis) by putting them in his Broadway show “Free Dance,” that becomes more complicated by a love triangle between the three. It also stars Jane Seymour, who was also in the previous film.

LOCAL FESTIVALS

The New York Film Festival is finishing up this Friday with Edward Norton’s new ‘50s detective film MOTHERLESS BROOKLYN, which I quite liked and have also reviewed for The Beat. Also playing is Mati Diop’s Cannes prize-winning Atlantics, which will be on Netflix in November.

STREAMING AND CABLE

Before I get to the regular Netflix releases, I do want to draw special attention to Abe Forythe’s LITTLE MONSTERS, which just received a one-night nationwide screening on Tuesday but will debut on Hulu this Friday. It’s a very witty zombie comedy set in Australia starring Alexander England (Alien: Covenant) as Dave, a slacker musician who develops a crush on his nephew’s beguiling kindergarten teacher Miss Caroline (played indelibly by Oscar winner Lupita Nyong’o). When he finds out that the class is being taken on a field trip to a petting zoo, Dave volunteers as a chaperone, only for things to get complicated when they get there and a famed child entertainer called Teddy McGiggle (and played by Josh Gad) starts showing interest in Miss Caroline. Oh, yeah, and I also mentioned zombie, didn’t I? The class arrives at the park just as a zombie outbreak begins so Dave and Miss Caroline have to protect the kids.

I generally liked this movie, which I found quite witty and a much stronger zombie-comedy effort than something like last year’s Anna and the Apocalypse. I loved what Lupita does with her characterization in this and I even kind of liked Josh Gad, although he took his character a little too far at times. Either way, if you have Hulu-- as I now do -- this is a fun watch and you can do worse with your time.

Although Vince Gilligan’s EL CAMINO: A BREAKING BAD MOVIE with Aaron Paul reprising his role of Jesse Pinkman is streaming on Netflix starting Friday, it’s also getting a rather limited run in theaters for those who would prefer to see it that way. I personally haven’t seen it yet, but it’s supposed to be a direct continuation from that amazing final episode of Breaking Bad. A few places where you can see it live with other fans including the IFC Center and Alamo Drafthouse in Brooklyn. Also on Netflix Friday is the psychological thrillerFracturedfrom Brad Anderson, starring Sam Worthington – I wonder where he’d gotten – and Lily Rabe from American Horror Story. Worthington plays Ray, who is driving across country with his wife and daughter when they stop at a rest area where his daughter falls and breaks her arm. Once he gets her to the hospital, Ray passes out from exhaustion and when he wakes up, his wife and daughter are missing with absolutely no record of them having ever been there. I haven’t had a chance to see this but I’m always interested in what Brad Anderson is up to since I’m such a huge fan of his earlier movies like Session 9 and The Machinist.

REPERTORY

METROGRAPH (NYC):

Shirkers director Sandi Tan returns to the Metrograph to screen Leos Carax’s 1999 film Pola Xin 35mm on Saturday night, and the Metrograph continues its “NYC ’81” series this weekend with Andrew Bergman’s So Fine, a series of New York shorts from 1981, Peter Yates’ Eyewitness, Louis Malle’s My Dinner with Andreand more. This Saturday, Welcome To Metrograph: Reduxwill screen Martin Scorsese’s 1974 filmAlice Doesn’t Live Here Anymore, starring Ellen Burstyn and Kristopher Kristopherson, which I believe was the inspiration for the TV sitcom “Alice” but I could be wrong. Late Nites at Metrograph has the greatest movie in the series so far, John Carpenter’s Escape from New York, starring Kurt Russell, which is also a part of “NYC ’81.” Playtime: Family Matineeswill screen Miyazaki’s Oscar-nominated 2004 film Howl’s Moving Castle.

ALAMO DRAFTHOUSE BROOKLYN(NYC)

There’s still a few tickets for tonight’s “Weird Wednesday” movie, Lucio Fulci’s The Devil’s Honey. Thursday night the Alamo is showing Bong Joon-ho’s Snowpiercer from 2014 as his new movie Parasite opens (that one’s almost sold out as of this writing). Sunday afternoon, the Alamo is screening a 35mm print of the 1960’s Korean film The Housemaid, which inspired Parasite. Monday night (and already sold out) is a screening of The Cabinet of Dr. Caligariwith a live score (sorry!). Next week’s “Terror Tuesday” is Ti West’s House of the Devil, a fantastic chiller, and next week’s “Weird Wednesday” is the 1987 British film Born of Fire, presented by my good friend and filmmaker Ted Geoghegan.

THE NEW BEVERLY (L.A.):

The Dolemite series continues with a double feature of Dolemite is My Name with the Dolemite movie The Human Tornado (1976), then on Thursday night, the Eddie Murphy double features with Disco Godfather (1979). Wednesday’s horror movie is Robert Wise’s 1963 film The Haunting while Friday’s horror matinee is Hello Mary Lou: Pro Night I I(1987) Tarantino’s Death Proof is the Friday night midnight offering, while Dolemite Is My Namewill screen Saturday night at midnight. (Listen, the Eddie Murphy is not really repertory but it’s a great movie to see with an audience, so take advantage of this chance being given to you by the New Bev, and go see it!!!) This weekend’s “Kiddee Matinee” is Jules Bass’ Mad Monster Party? from 1967 and starring the one and only Boris Karloff. There’s also a Halloween Edition of “Cartoon Club” on Saturday AND Sunday, but they’re both sold out online. Monday afternoon, there’s a matinee of Wes Craven’s Scream (1996)

FILM FORUM (NYC):

I’m pretty excited about the Film Forum’s upcoming “Shitamachi” series starting next week, but in the meantime, the Forum will be screening a 50thanniversary 4k restoration of Yôji Yamada’s Tora-San, Our Loveable Tramp (It’s Tough Being a Man), which is part of a long-running series that I personally have never had a chance to see even though I’ve loved Yamada’s Edo-period samurai films from a few years back. This weekend’s “Film Forum Jr.” is A Boy Named Charlie Brown, and the Film Forum is also screening a 4k restoration of Bob Fosse’s Sweet Charity, both of them also from 1969 and celebrating their 50thanniversaaries. Bill Forsyth’s Gregory’s Girl will end Thursday while the Yves St. Laurent doc Celebration will continue through next Tuesday. The “Shirley Clarke 100” will continue through the rest of the month but only her 1962 doc Robert Frost: A Lover’s Quarrel with the World screens this weekend on Saturday.

AERO (LA):

Looks like a planned James Ivory double features for Thursday and Friday have been cancelled, but they’ll be showing the excellent doc Love, Antosha about the late Anton Yelchin in a double feature with Drake Doremus’ Like Crazy. Saturday begins a “Béla Tarr Revisited” series showing films by the popular Hungarian auteur with The Turin Horse (2011) on Saturday night and the new 4k restoration of Sátántángo on Sunday. Just FYI, the latter is 450 minutes or about 7 and a half hours long. There will be an intermission and an extended break but hopefully, you REALLY love Tarr’s work. (I don’t.) Tuesday’s free “Tuesdays with Lorre” screening is The Beast with Five Fingers from 1946.

MUSEUM OF THE MOVING IMAGE (NYC):

“See It Big! Ghost Stories” continues this weekend with Tim Burton’s Beetlejuice on Saturday and Ti West’s The Inkeepers on Sunday, both worthwhile movies to see on the big screen. MOMI is also starting a new series called “No Joke: Absurd Comedy as Political Reality” kicking off with a Weds. night screening of Mister America (see above) and then Paul Verhoeven’s Starship Troopers on Saturday and “An Evening with the Yes Men” (political documentarians) on Sunday. On Sunday afternoon is the “Sesame Street Short Film Festival” screening a bunch of live action and animated shorts commissioned by the popular PBS show.

QUAD CINEMA (NYC):

Francis Ford Coppola’s restored and remastered Cotton Club Encore, which just premiered at the New York Film Festival a couple weeks back will get a theatrical run at the Quad, as will Serge Gainsbourg’s Je T’Aime Moi Non Plus(1976), starring Jane Birkin as a truck stop waitress who begins a friendship with Joe Dallesandro’s garbage truck driver, making his boyfriend (Hugues Quester) jealous.

IFC CENTER (NYC)

Not sure what’s going on with the IFC Center’s ongoing weekend rep series but George Miller’s Mad Max: Fury Road(2015) will screen just before midnight on Friday and Saturday, and then the Coens’ 1998 comedy The Big Lebowski will screen as part of Late Night Favorites: Summer 2019as will Satoshi Kon’s 2006 film Paprika.

EGYPTIAN THEATRE (LA):

The Egyptian is pretty busy this weekend with “German Currents 2019” i.e. not repertory, but on Saturday, they’ll show a “Retroformat” screening of the 1928 film The Spielerwith live accompaniment.

BAM CINEMATEK(NYC):

This Sunday’s “Beyond the Canon” is a double feature of Claudia Well’s Girlfriends (1978) with John Cassavetes’ Husbands (1970).

ROXY CINEMA (NYC)

Oddly, the Roxy is screening the 2015 horror movie Unfriended on Wednesday and then David Lynch’s Twin Peaks: Fire Walk With Me(1992) on Thursday, but really you should go there to see Lulu Wang’s excellent The Farewell – my #1 movie of 2019 so far – if you haven’t seen it yet.

LANDMARK THEATRES NUART (LA):

This Friday’s midnight movie is John Carpenter’s 1978 horror classic Halloween.

And great news... MOMA should be back next week!

Next week, Angelina Jolie returns as Maleficent, Mistress of Evil, but the movie I’m really looking forward to is Zombieland Double Tap.

#WhatToWatchThisWeekend Movies Parasite GeminiMan TheKing AddamsFamily Reviews Jexi

0 notes

thesinglesjukebox · 5 years ago

Video

youtube

BLACKPINK - HOW YOU LIKE THAT

[3.14]

Presumptuous question gets humble pi...

Jessica Doyle: Why are we still talking about this group? Their music has been consistently shoddy and repetitive. The books haven't been closed yet on the myriad accusations against YG on prostitution procurement and police bribery, despite various Korean prosecutorial offices' keen efforts. The performers, though they seem like nice young women, aren't orders of magnitude better than their peers. There's nothing here except a hype train. Is it accelerationism? The idea that capitalism has warped everyone's minds to the point that only nihilist destruction can improve anything, and maybe if we hype up this kind of dreck, people will either realize how shallow and empty pop music can be and start turning their attention to organizing, or collapse in their own stupidity? I don't yet have a competing explanation as to why this is the Korean female group we all suddenly feel obliged to discuss. [1]

Nina Lea: "How You Like That" deserves an award for most incongruous combination of the greatest number of different songs that had already been rejected by other K-pop groups; it's like all the producers were assigned a school group project but none of them coordinated on their PowerPoint slides. Obviously the utter incoherence is kind of fun, but in a Eurovision-long-shot-entry-from-Belarus kind of way, and certainly not befitting artists hyped as the top girl group in K-pop. [3]

Katie Gill: Is this a comeback? Blackpink's career has been so all over the place that you can probably call half of their recent singles "comeback" singles. This is their most recent, and it... feels like a worse version of their last comeback single, mixed with some Itzy-brand obnoxiousness. I really want to like this song, but it just feels like a big bunch of something we've already heard before. [5]

Alex Clifton: It's the same single as "DDU-DU DDU-DU" and "Kill This Love." Jennie raps, Rosé and Jisoo swap off in the pre-chorus, and the chorus proper is an electro-melody. Rinse and repeat, but swap out Lisa for Jennie. Throw in a dance break in the last thirty seconds. Bingo! You have the newest Blackpink single! Get yourself a writing credit next to Teddy! And yet this will tide me over until Blackpink releases their first full-length LP this September after four flipping years. Go figure. [5]

Wayne Weizhen Zhang: Hook, pre-chorus, and chorus all glide together seamlessly, working like parts of an engine. I'm no expert in cars, but in that context "How You Like That" is probably an Inferno Red Kia Soul. [6]

Michael Hong: It's the kitchen sink approach in action, a slew of thoughts and ideas randomly stitched together, with a sprinkle of Blackpink's touch: obnoxiously loud, annoyingly bright, and ill-fitting with current tastes. Groups have enough trouble making this approach work when the pieces are good and these ideas -- Disney villain score to thin balladry to a chorus tasteless even by early 2010's Skrillex standards within the first minute -- should have been gutted even before you consider supergluing them together. But Blackpink's greatest failing has always been the way they end their tracks, usually, a slapdash chorus or an underwritten left turn that squanders any momentum they've built. This one's no different; more of the track is messy noise, like watching four headless chickens run amuck. [2]

Kayla Beardslee: This drop makes me want to gouge out my eyes. Yes, my eyes, not my ears -- why should my reaction be reasonable when this single was put together without an ounce of common sense? Maybe if "How You Like That" was abrasive for experimental reasons, I'd be less inclined to call it... oh, let's say a borderline unlistenable byproduct of laziness, greed, and desperation. But unfortunately it's the worst sort of bad music, the kind that has no ambitions beyond fulfilling commercial potential and so is not beholden to concepts like "good taste" or "artistic merit." Previous Blackpink tracks have recycled the same tropes as this one (EDM-drop structure with a pumped-up final chorus, brassy production, shouted lyrics), but it's like screenshotting a screenshot: the iterations are just getting worse, and I think the unoriginality has finally worn too thin to tolerate. Of course, "How You Like That" isn't so much a song as a device meant to keep the world invested in Blackpink, but the irony is that to keep their career alive in this way is to kill it, too. If the group stays locked in the dungeon to maintain their air of mystery and desirability, the fanbase will wither; but if they continue this career path, where the girls are given insultingly awful singles to grin and bear, then those who care about Blackpink's actual music (including the casual listeners that push artists into mainstream success) will give up and fade away, leaving only blindly faithful stans and a group spiraling towards irrelevancy. In almost a full year at TSJ, I've never given out this score, but this feels as good a time as any to do so -- it's what this soulless song, released by a soulless company in a soulless world, deserves. [0]

[Read, comment and vote on The Singles Jukebox]

#Blackpink #pop #Kpop #music #music review

0 notes