#dietrich wolff

[pricescigar]

Dietrich Wolff

"Water sleeps, and the enemy is sleepless."

[cherriepyii]

Marlene Dietrich by Wolff von Gudenberg

Berlin, 1929

[blorbocedes]

“Toto Wolff has had a meeting with Jos Verstappen in the Bahrain paddock. When asked about the possibility of Verstappen joining Mercedes in 2025, Wolff responded: “Anything is possible.”

This comes after reports that Jos Verstappen said that the Red Bull team could “explode”, and it is “in danger of being torn apart” if Christian Horner stays on as team principal.”

User blorbocedes, is it over?

there is one man in redbull who is completely irreplaceable. and that is max verstappen.

max verstappen is not leaving redbull while it's the fastest car. and he's not leaving for fucking mercedes, which isn't on pace to be second fastest car

sure you can argue "max is leaving to protest alleged sexual harasser team principal" and I would love to live in the world where men cared about women at the detriment of their own careers, but if this was true then max wouldn't hug said alleged team principal after a race win, or go up laugh with him of his own volition during practice. he quite simply does not care, he's just here to race

verstappen's camp ofc cares, and max lets them run it how they see fit in his best interests.

we know Jos doesn't like Horner, and he released articles since last year and even recently that he doesn't fuck with him for reasons he won't say. also not out of any ethical considerations (let's hear what the wifebeater has to say about the mistreatment of women), but because we can guess -- Jos does not like Checo, and Horner backs Checo. regardless, the reason does not matter — he wants Horner out.

After Redbull's former owner Dietrich died, there was a power vacuum in redbull and Horner stood a lot to gain as TP and CEO to become de-facto sole benefactor. RB Austria, the parent company, does not want that. During Dietrich's tenure, he trusted Helmut completely to make decisions on hiring new drivers, and we know Marko and Horner disagreed on promoting NDV, with Marko getting his way in the end and then quickly being embarrassed. Helmut and Jos are quite friendly, the way he isn't with Horner. You see the power struggle.

Jos has always had contact with Toto because he wanted to get 16 year old Max in Mercedes, and Toto couldn't. Every time Max's contract negotiations would come up, there would be Mercedes rumours and talks so that Redbull would clamp down and give team Max whatever they wanted (centre the whole team around him.) They maintained this relationship until 2021 silverstone.

Jos talking to Toto now is essentially drawing a line in the sand that either Max, the boy wonder champion this whole team is built around goes or Horner goes. Max wont go. But to earn that, Redbull has always caved and given Max what he wants.

and ofc Toto took the call because Max is forever his "one that got away" and would welcome in that silver shitbox with open arms, not that Max would accept

Is it over? Well, if Redbull is stupid enough to keep that liability of a team principal and tie their sinking ship to a man who creeped on his employee instead of keeping their multiple world champion and strongest driver on the grid happy then they deserve the pride before the fall, and lose it all.

[weimarhaus]

Marlene Dietrich

Freiherr (Baron) Wolff von Gudenberg (1890-1961 or 1964) was a photographer who was noted and fashionable in the 1920s and 1930s in Berlin. Wolff von Gudenberg is the name of an old Hessian noble family that was raised to the rank of baron in 1873. He photographed actors like Marlene Dietrich and Fritzi Massary, dancers like Marianne Winkelstern and La Jana, and international celebrities such as Josephine Baker and Anna May Wong. His photos appeared in magazines such as Die Dame, newspapers like Berliner Illustrirte Zeitung (BIZ), and on countless postcards by Ross Verlag and other publishers.

[les-annees-vingt]

Marlene Dietrich par Wolff von Gudenberg, 1929.

[paxdemon]

alain tell-all finally dropped 

« D'abord, il me faut dire l'attachement à cette équipe. Par son nom d'origine, Renault, qui m'a permis de courir et de me battre pour la première fois pour une couronne mondiale. Et ensuite par mon implication dans la structure actuelle, l'association Enstone-Viry, ces dernières années. J'aime cette équipe et la voir dans cet état aujourd'hui m'attriste et me désole. Elle mérite mieux et possède tous les atouts pour y arriver. Je crois simplement qu'il faut s'appuyer sur l'histoire pour comprendre l'erreur. Si vous regardez les grands succès de ces trente dernières années, vous trouverez une structure simple, détachée d'un organigramme industriel, construite autour de trois ou quatre personnalités fortes, couplée à un pilote champion.

Ferrari fonctionna avec Jean Todt s'appuyant sur Ross Brawn et Michael Schumacher ; Mercedes connut le succès avec Toto Wolff, soutenu par Niki Lauda et James Allison avec Lewis Hamilton comme fer de lance. Red Bull, même si elle n'est pas adossée à un grand constructeur, agit de même. Ce sont Christian Horner et Adrian Newey qui gèrent pour leurs deux pilotes, Sebastian Vettel puis désormais Max Verstappen. Et dans ces trois cas-là, il y avait un président fort et complètement impliqué dans la F1 pour soutenir l'action engagée : Luca di Montezemolo, Dieter Zetsche et Dietrich Mateschitz.

« Il faut espérer que la décision prise vendredi de changer d'autres têtes sera un électrochoc salutaire pour l'écurie »

Ils avaient les codes de la F1, l'agilité et la souplesse pour laisser leurs hommes prendre les décisions. La décision de Red Bull de ne pas s'associer à Porsche vient d'ailleurs de ce refus de se plier à ces décisions trop lourdes venues du board et de gens qui ne connaissent pas la F1. Durant mes années chez Renault, combien de fois ai-je entendu dans les couloirs du siège à Boulogne-Billancourt, que la F1 était un sport simple qui pouvait être dirigé de la maison par des hommes en place.

Grossière erreur comme le prouve le dernier des dirigeants Laurent Rossi, dont Luca de Meo s'est séparé il y a une semaine. Laurent Rossi est le plus bel exemple de l'effet Dunning-Kruger, celui d'un dirigeant incapable qui pense pouvoir surmonter son incompétence par son arrogance et son manque d'humanité à l'égard de ses troupes. Celui qui fut le patron d'Alpine pendant dix-huit mois a cru avoir tout compris d'entrée alors qu'il s'est totalement fourvoyé. Son management a brisé l'élan qui avait été mis en place depuis 2016 pour arriver à ces podiums (2020) et cette victoire (2021, en Hongrie).

Il faut espérer que la décision prise vendredi de changer d'autres têtes sera un électrochoc salutaire pour l'écurie. Si vous regardez quand Renault connut le succès, vous trouverez un homme, Flavio Briatore, et un pilote de légende, Fernando Alonso, soutenu par un management (Patrick Faure, Louis Schweitzer) qui à l'époque appliquait cette philosophie de la prise de décision rapide par des spécialistes. Amusant de voir que les dirigeants de la F1 sont souvent invités à des conférences sur le management par les grands groupes afin de parler de réactivité et de souplesse. Rarement l'inverse... »

-

"First of all, I have to say how attached I am to this team. Through its original name, Renault, which enabled me to race and fight for a world crown for the first time. And then through my involvement in the current structure, the Enstone-Viry association, over the last few years. I love this team and to see it in this state today saddens and distresses me. It deserves better and has everything it needs to get there. I simply believe that history is the key to understanding mistakes. If you look at the great successes of the last thirty years, you'll find a simple structure, detached from an industrial organization chart, built around three or four strong personalities, coupled with a champion driver.

Ferrari worked with Jean Todt, supported by Ross Brawn and Michael Schumacher; Mercedes enjoyed success with Toto Wolff, supported by Niki Lauda and James Allison, spearheaded by Lewis Hamilton. Red Bull, although not backed by a major manufacturer, does the same. Christian Horner and Adrian Newey manage the team for their two drivers, Sebastian Vettel and now Max Verstappen. And in all three cases, there was a strong president who was fully involved in F1 to support the action taken: Luca di Montezemolo, Dieter Zetsche and Dietrich Mateschitz.

"We must hope that Friday's decision to change other heads will be a salutary electroshock for the team".

They had the F1 codes, the agility and flexibility to let their men make the decisions. In fact, Red Bull's decision not to join forces with Porsche stems from this refusal to bow to these heavy-handed decisions made by the board and by people who know nothing about F1. During my years at Renault, how many times did I hear in the corridors of the head office in Boulogne-Billancourt that F1 was a simple sport that could be run from home by established men?

A big mistake, as proven by the last of the Laurent Rossi directors, from whom Luca de Meo parted company a week ago. Laurent Rossi is the best example of the Dunning-Kruger effect, that of an incompetent leader who thinks he can overcome his incompetence by his arrogance and lack of humanity towards his troops. The man who was Alpine's boss for eighteen months thought he had it all figured out right from the start, when in fact he was totally mistaken. His management broke the momentum that had been built up since 2016 to get to these podiums (2020) and this victory (2021, in Hungary).

It is to be hoped that Friday's decision to change other heads will be a salutary electroshock for the team. If you look back to Renault's heyday, you'll find one man, Flavio Briatore, and a legendary driver, Fernando Alonso, supported by a management team (Patrick Faure, Louis Schweitzer) which at the time applied this philosophy of rapid decision-making by specialists. It's amusing to see that F1 managers are often invited to management conferences by major groups to talk about responsiveness and flexibility. Rarely the opposite..."

[hwdownandout]

Marlene Dietrich by Wolff von Gudenberg.

[scuderia-hamilton]

The investigation was officially into "controlling behaviour". It was a Dutch tabloid (De Telegraaf) that published an article claiming it was a case of sexual misconduct, and that he'd fallen out with the Verstappens, and that his lawyers paid her hush money, and that they themselves would reveal screenshots of incriminating messages at a later date. There hasn't been a mention of sexual misconduct by any official source. Max has categorically denied any change in relationship between himself and Horner. There is no evidence of the hush money, and the publication hasn't posted any screenshots, despite claiming they already had them.

I'm not sure one would put so much trust into a single article like this, especially a Dutch publication, and especially after what happened in the Susie Wolff fiasco.

I know you probably don't care about this, but there is a massive power struggle at Red Bull currently. Dietrich Mateschitz's son owns 49% of the company, and believes Horner is getting too ambitious, so wants to oust him. I'm not saying this circus was manufactured by him, but he's been using it to his advantage to try and push Horner out. On the other hand, Thai stakeholders hold a 51% majority share, have a soft spot for Horner, and have been doing their best to keep him in.

This is why the investigation has taken so long. There's an internal rift at the company with each side doing their best to inconvenience the other.

hello, i appreciate you being kind and respectful, some people find it easier to hide behind anonymous harassment. :))

there are so many things wrong with this investigation, starting with the fact that we don’t even know what he did, exactly. regardless of if it was sexual misconduct or just controlling behaviour i would not go around defending him under any circumstances.

the fact that red bull hired an independent lawyer to investigate one of their own employees and then it magically turned out that he did nothing wrong is the biggest issue. not making it available to the public, not posting about it anywhere, so they can actually prove that he is innocent and the 100 pieces of evidence are not viable, is another issue. they’re basically like trust us, bro, he’s a good man.

their official statement saying that “the grievance bas been dismissed” does not mean that he’s actually innocent is another huge problem. they don’t care enough that’s the bottom line. all that talk about it being a fair and just and super thorough investigation, was all that: talk.

the way they handled this, the way the fia and f1 and the media and majority of the fanbase, handled this set back the sport about 50 years. this is utterly disgusting and evil and it really, genuinely makes me sick to my stomach that he gets to keep his job, he gets to walk around the paddock, flaunting his “innocence”, continuing his gaslighting manipulative power play, and misusing his power and authority.

i know about the internal power struggle and all the supposed rumors of conflict between him and Jos Verstappen and Marko, but (and i really don’t want to seem rude), i frankly couldn’t care less. they’re all horrible, power hungry, white rich men and i hope they all rot in their special, reserved little spot in the darkest pits of hell.

i know you meant nothing wrong and you’re just clearing things up, which i appreciate, but at the same time, i think all of this is pointless. they handled this so horribly, we all knew what the outcome will be, cause he’s a man and there are no consequences of their actions.

the victim’s life is ruined and for that alone i hope his downfall will be astronomical. i hope she gets the support and justice she deserves. i also hope she appeals or takes it to court, but obviously that is completely up to her.

the bottom line is, f1 is truly a “men’s world” kinda sport, it’s a cesspit of sexism, racism, bigotry and all horrible things. and as long as men, like Christian Horner get to walk around freely, it will never ever be a safe place for women.

frankly i cannot understand how and why anyone would defend his or the team’s actions, but hey, i guess further harassing the victim and praising and cheering on the abuser is what goes on nowadays. also calling it out, results in you getting harassed too, because being a decent human is also something that’s not appreciated in this sport.

[moviesandmania]

BEWARE THE BOOGEYMAN Horror anthology from Calvin Morie McCarthy - trailer and release news

‘Don’t trust your mind’ Beware the Boogeyman is a 2024 anthology horror film involving five patients at an insane asylum who each have their own story. Written, directed and co-produced by Calvin Morie McCarthy with segments written and directed by Tim Coyle, Josh Dietrich, Kai Pacifico Eng and Chynna Rae Shurts. Also produced by Susan Helfrich. Executive produced by Rich Wolff. The 7th Street…

[nebris]

Hitler with his staff at headquarters In June 1940, Hitler and his entourage were photographed at the Führer's headquarters. As far as is known, from left to right: SA Obergruppenfuhrer Wilhelm Brückner, OKH Adjutant Major Engel, Reich Press Chief Dr. Otto Dietrich, Hitler's doctor, Dr. Karl Brandt, Chief of the OKW Colonel-General Wilhelm Keitel, Luftwaffe Adjutant Major General [Karl] Bodenschatz, Adolf Hitler, Wehrmacht Adjutant Colonel Rudolf Schmundt, SS Adjutant SS-Group Leader Julius Schaub, Chief of the Wehrmacht Command Office in the OKW General Alfred Jodl, Adjutant Himmler and liaison to Hitler's SS -Group leader Karl Wolff, head of the party chancellery Reichsleiter Martin Bormann, Hitler's personal physician Prof. Dr. [Theo] Morell, Air Force Adjutant Captain von Below, Reich Photographer of the NSDAP Heinrich Hoffmann. The “Wolfsschanze”, a name coined by Hitler, was near the town of Ketrzyn, Warmińsko-Mazurskie Voivodeship (formerly Rastenburg, Allenstein District), Republic of Poland.

[pricescigar]

Happy Birthday Dietrich

[cherriepyii]

Marlene Dietrich by Wolff von Gudenberg

[theboywhotravels]

Algunos de los mayores que nos daban dulces de Honeydukes a los más pequeños pidiéndonos casi siempre cosas a cambio Traficantes de dulces.

[silentlondon]

Le Giornate del Cinema Muto 2021: Pordenone Post No 8

Le Giornate del Cinema Muto 2021: Pordenone Post No 8

At the start of this festival I missed a date with An Old Fashioned Boy, but you can bet your last Euro I wasn’t going to pass up a rendez-vous with Casanova. Tonight, the final night of this very precious Giornate, belonged to Ivan Mosjoukine, his magnicifent eyebrows and the show-stopping music of Günter Buchwald. (more…)

[adlerboi]

Chronology of Anja Petrochenka

1949: Birth of Anja

1961: Anja's parents are killed in Berlin. Ilitch, the father, was investigating Volkov.

1966: She is caught stealing from the warehouse by Dietrich Wolff. She has to work for them, to repay the debt.

1967: She falls in love and is in a relationship with Volkov

1970: She marries Volkov and goes to see the sea for the first time in her life for the honeymoon

1971: Anja is injured by Dietrich

1978: Sasha is born

1980: Masha is born

Mention of @pricescigar OC (Dietrich)

[sinceileftyoublog]

Pitchfork Music Festival 2021 Preview: 15 Can’t-miss Acts

black midi; Photo by YIS KID

BY JORDAN MAINZER

While yours truly won’t be attending Pitchfork Music Festival this year, SILY contributor Daniel Palella will be covering the actual fest. If I was attending, though, these would be the acts I’d make sure to see. 5 from each day, no overlaps, so you could conceivably see everyone listed.

FRIDAY

Armand Hammer, 1:00 PM, Green Stage

Earlier this year, New York hip hop duo Armand Hammer released their 5th album Haram (BackwoodzStudioz) in collaboration with on-fire producer The Alchemist. It was the duo’s (ELUCID and Billy Woods) first time working with a singular producer on a record (though Earl Sweatshirt produced a track), and likewise, The Alchemist actually tailored his beats towards the two MCs. Haram is the exact kind of hip hop that succeeds early in the day at a festival, verbose and complex rhymes over languid, cloudy, sample-heavy beats, when attendees are more likely to want to sit and listen than dance. And you’re going to want to listen to Armand Hammer, whose MCs’ experiential words frame the eerie hues of the production. “Dreams is dangerous, linger like angel dust,” Woods raps on opener “Sir Benni Miles”, never looking back as he and Elucid’s stream-of-consciousness rhymes cover everything from colonization to Black bodily autonomy and the dangers of satisfaction disguised as optimism. (“We let BLM be the new FUBU,” raps Quelle Chris on “Chicharrones”; “Iridescent blackness / Is this performative or praxis?” ponders Woods on “Black Sunlight”.)  There are moments of levity on Haram, like KAYANA’s vocal turn on “Black Sunlight” and the “what the hell sound is this?” type sampling that dominates warped, looped tracks like “Peppertree” and “Indian Summer”, built around sounds of horns and twirling flute lines. For the most part, Haram is an album of empathetic realism. “Hurt people hurt people,” raps Elucid on “Falling Out of the Sky”, a stunning encapsulation of Armand Hammer’s world where humanism exists side-by-side with traumatic death and feelings of revenge.

You can also catch Armand Hammer doing a live set on the Vans Channel 66 livestream at 12 PM on Saturday.

Dogleg, 1:45 PM, Red Stage

It feels like we’ve been waiting years to see this set, and actually, we have! The four-piece punk band from Michigan was supposed to play last year’s cancelled fest in support of their searing debut Melee (Triple Crown), and a year-plus of pent up energy is sure to make songs like “Bueno”, “Fox”, and “Kawasaki Backflip” all the more raging. Remember: This is a band whose reputation was solidified live before they were signed to Triple Crown and released their breakout album. Seeing them is the closest thing to a no-brainer that this year’s lineup offers.

Revisit our interview with Dogleg from last year, and catch them at an aftershow on Saturday at Subterranean with fellow Pitchfork performer Oso Oso and Retirement Party.

Hop Along, 3:20 PM, Red Stage

Though lead singer Frances Quinlan released a very good solo album last year, it’s been three years since their incredible band Hop Along dropped an album and two years since they’ve toured. 2018′s Bark Your Head Off, Dog (Saddle Creek), one of our favorite albums of that year, should comprise the majority of their setlist, but maybe they have some new songs?

Catch them at an aftershow on Saturday at Metro with Varsity and Slow Mass.

black midi, 4:15 PM, Green Stage

The band who had the finest debut of 2019 and gave the best set of that year at Pitchfork is back. Cavalcade (Rough Trade) is black midi’s sophomore album, methodical in its approach in contrast with the improvisational absurdism of Schlagenheim. Stop-start, violin-laden lead single and album opener “John L”, a song about a cult leader whose members turn on him, is as good a summary as ever of the dark, funky eclecticism of black midi, who on Cavalcade saw band members leave and new ones enter, their ever shapeshifting sound the only consistent thing about them. A song like the jazzy “Diamond Stuff” is likely impossible to replicate live--its credits list everything from 19th century instruments to household kitchen items used for percussion--but is key to experiencing their instrumental adventurousness. On two-and-a-half-minute barn burner “Hogwash and Balderdash,” they for the first time fully lean into their fried Primus influences, telling a tale of two escaped prisoners, “two chickens from the pen.” At the same time, this band is still black midi, with moments that call back to Schlagenheim, the churning, metallic power chords via jittery, slapping funk of “Chondromalacia Patella” representative of their quintessential tempo changes. And as on songs like Schlagenheim’s “Western”, black midi find room for beauty here, too, empathizing with the pains of Marlene Dietrich on a bossa nova tune named after her, Geordie Greep’s unmistakable warble cooing sorrowful lines like, “Fills the hall tight / And pulls at our hearts / And puts in her place / The girl she once was.” Expect to hear plenty from Cavalcade but also some new songs; after all, this is a band that road tests and experiments with material before recording it.

Catch them doing a 2 PM DJ set on Vans Channel 66 on Saturday and at an aftershow on Monday at Sleeping Village.

Yaeji, 7:45 PM, Blue Stage

What We Drew (XL), the debut mixtape from Brooklyn-based DJ Yaeji, was one of many dance records that came out after lockdown that we all wished we could experience in a crowd as opposed to at home alone. Now's our chance to bask in all of its glory under a setting sun. Maybe she’ll spin her masterful remix of Dua Lipa’s “Don’t Start Now” from the Club Future Nostalgia remix album, or her 2021 single “PAC-TIVE”, her and DiAN’s collaboration with Pac-Man company Namco.

Angel Olsen; Photo by Dana Trippe

SATURDAY

Bartees Strange, 1:45 PM, Red Stage

One of our favorite albums of last year was Live Forever (Memory Music), the debut from singer-songwriter and The National fanatic Bartees Strange, one that contributor Lauren Lederman called “a declaration of an artist’s arrival.” He’s certainly past arrived when you take into account his busy 2021, releasing a new song with Lorenzo Wolff and offering his remix services to a number of artists, including illuminati hotties and fellow Pitchfork performer (and tour mate) Phoebe Bridgers. Expect to hear lots of Live Forever during his Pitchfork set, one of many sets at the fest featuring exciting young guitar-based (!) bands.

Catch him at a free (!!) aftershow on Monday at Empty Bottle with Ganser.

Faye Webster, 4:00 PM, Blue Stage

Since we previewed Faye Webster’s Noonchorus livestream in October, she’s released the long-awaited follow-up to Atlanta Millionaires Club, the cheekily titled I Know I’m Funny haha (Secretly Canadian). At that time, she had dropped “Better Distractions”, “In A Good Way”, and “Both All The Time”, and the rest of the album more than follows the promise of these three dreamy country, folk rock, and R&B-inspired tunes. Webster continues to be a master of tone and mood, lovelorn on “Sometimes”, sarcastic on the title track, and head-in-the-clouds on “A Dream with a Baseball Player”. All the while, she and her backing band provide stellar, languorous instrumentation, keys and slide guitar on the bossa nova “Kind Of”, her overdriven guitar sludge on “Cheers”, cinematic strings on the melancholic “A Stranger”, stark acoustic guitar on heartbreaking closer “Half of Me”. And the ultimate irony of Webster’s whip-smart lyricism is that a line like, “And today I get upset over this song that I heard / And I guess was just upset because why didn't I think of it first,” is that I can guarantee a million songwriters feel the same way about her music, timely in context and timeless in sound and feeling.

Catch her at an aftershow on Saturday at Sleeping Village with Danger Incorporated.

Georgia Anne Muldrow, 5:15 PM, Blue Stage

The queen of beats takes the stage during the hottest part of the day, perfect for some sweaty dancing. VWETO III (FORESEEN + Epistrophik Peach Sound), the third album in Muldrow’s beats record series, was put together with “calls to action” in mind, each single leading up to the album’s release to be paired with crowdsourced submissions via Instagram from singers, visual artists, dancers, and turntablists. Moreover, many of the album’s tracks are inspired by very specific eras of Black music, from Boom Bap and G-funk to free jazz, and through it all, Muldrow provides a platform for musical education just as much as funky earworms.

Revisit our interview with Muldrow from earlier this year.

Angel Olsen, 7:25 PM, Red Stage

It’s been a busy past two years for Angel Olsen. She revealed Whole New Mess (Jagjaguwar) in August 2020, stripped down arrangements of many of the songs on 2019′s amazing All Mirrors. In May, she came out with a box set called Song of the Lark and Other Far Memories (Jagjaguwar), which contained both All Mirrors and Whole New Mess and a bonus LP of remixes, covers, alternate takes, and bonus tracks. She shortly and out of nowhere dropped a song of the year candidate in old school country rock high and lonesome Sharon Van Etten duet “Like I Used To”. And just last month, she released Aisles, an 80′s covers EP out on her Jagjaguwar imprint somethingscosmic. She turns Laura Branigan’s disco jam “Gloria” and Men Without Hats’ “Safety Dance” into woozy, echoing, slowed-down beds of synth haze and echoing drum machine. On Orchestral Manoeuvres in the Dark’s “If You Leave”, her voice occupies different registers between the soft high notes of the bridge and autotuned solemnity of the chorus. Sure, other covers are more recognizable in their tempo and arrangement, like Billy Idol’s Rebel Yell ballad “Eyes Without a Face” and Alphaville’s “Forever Young”, but Aisles is exemplary of Olsen’s ability to not just reinvent herself but classics.

At Pitchfork, I’d bet on a set heavy on All Mirrors and Whole New Mess, but as with the unexpectedness of Aisles, you never know!

St. Vincent, 8:30 PM, Green Stage

Annie Clark again consciously shifts personas and eras with her new St. Vincent album Daddy’s Home (Loma Vista), inspired by 70′s funk rock and guitar-driven psychedelia. While much of the album’s rollout centered around its backstory--Clark’s father’s time in prison for white collar crimes--the album is a thoughtful treatise on honesty and identity, the first St. Vincent album to really stare Clark’s life in the face. 

Many of its songs saw their live debut during a Moment House stream, which we previewed last month.

The Weather Station; Photo by Jeff Bierk

SUNDAY

Tomberlin, 1:00 PM, Green Stage

While the LA-via-Louisville singer-songwriter hasn’t yet offered a proper follow-up LP to her 2018 debut At Weddings, she did last year release an EP called Projections (Saddle Creek), which expands upon At Weddings’ shadowy palate. Songs like “Hours” and “Wasted” are comparatively clattering and up-tempo. Yet, all four of the original tracks are increasingly self-reflexive, Tomberlin exploring and redefining herself on her terms, whether singing about love or queerness, all while maintaining her sense of humor. (“When you go you take the sun and all my flowers die / So I wait by the window and write some shit / And hope that you'll reply,” she shrugs over acoustic strums and wincing electric guitars.) The album ends with a stark grey cover of Casiotone for the Painfully Alone’s “Natural Light”; Tomberlin finds a kindred spirit in the maudlin musings of Owen Ashworth.

Get there early on Sunday to hear select tracks from At Weddings and Projections but also likely some new songs.

oso oso, 2:45 PM, Blue Stage

Basking in the Glow (Triple Crown), the third album from Long Beach singer-songwriter Jade Lilitri as Oso Oso, was one of our favorite records of 2019, and we’d relish the opportunity to see them performed to a crowd in the sun. Expect to hear lots of it; hopefully we’re treated to new oso oso material some time soon.

Catch them at an aftershow on Saturday at Subterranean with fellow Pitchfork performer Dogleg and Retirement Party.

The Weather Station, 4:00 PM, Blue Stage

The Toronto band led by singer-songwriter Tamara Lindeman released one of the best albums of the year back in February with Ignorance (Fat Possum), songs inspired by climate change-addled anxiety. While the record is filled with affecting, reflective lines about loss and trying to find happiness in the face of dread, in a live setting, I imagine the instrumentation will be a highlight, from the fluttering tension of “Robber” to the glistening disco of “Parking Lot”.

Revisit our preview of their Pitchfork Instagram performance from earlier this year. Catch them at an aftershow on Friday at Schubas with Ulna.

Danny Brown, 6:15 PM, Green Stage

The Detroit rapper’s last full-length record was the Q-Tip executive produced uknowhatimsayin¿ (Warp), though he’s popped up a few times since then, on remixes, a Brockhampton album, and TV62, a Bruiser Brigade Records compilation from earlier this year. (He’s also claimed in Twitch streams that his new album Quaranta is almost done.) His sets--especially Pitchfork sets--are always high-energy, as he’s got so many classic albums and tracks under his belt at this point, so expect to hear a mix of those.

Erykah Badu, 8:30 PM, Green Stage

What more can I say? This is the headliner Pitchfork has been trying to get for years, responsible for some of the greatest neo soul albums of all time. There’s not much else to say about Erykah Badu other than she’s the number one must-see at the festival.